As is the case with Tarkovsky's films, Stalker deviates from conventional cinematic structure and storytelling. Tarkovsky's style is about powerful atmospheres, which he creates through sound and visual elements such as water. The language of his films has little to do with logical sequences of events. What he aims at is making an impact on a more direct level. In this sense, Tarkovsky's style is closer to what cinema is natively best suited to and not as a kind of a visual novel. Stalker is perhaps the most mysterious of his films.
As with all new technology, the mental models that guide our use of it rely on that which we are previously familiar with. By the middle of the 20th century, the world had seen film directors who saw the full potential of motion picture. For the likes of Tarkovsky and David Lynch, film was no longer a tool for linear storytelling.
Those of us who are into photography or videography ourselves, have a lot to learn from Tarkovsky's style.
Tarkovsky perhaps touched the spirit of men and while many of them did not understand him, many a people loved him without coherent comprehension for it was not needed.
I'm always amazed to relive Stalker and to see a sci-fi, philosophical epic made without any special effect at all, only with his cinematographic images. He truly was a giant of cinema.
This is a key point. Full and coherent comprehension are definitely not needed. Stalker is full of enjoyable scenes. The sounds and the score amplify the effect a great deal.
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