Codruta Cernea versus Tarkovsky

Left: Codruta Cernea, It feels like eating the same small, perfect grape again and again.
Acrylic on canvas, 100 x 130 cm, 2009. Painting's title is from Japan poem by Billy Collins.

Right: Screenshot from Zerkalo, 1975, directed by Andrei Tarkovsky.  

The opening of Mirror is also unique because it straight-cuts to a long take (45") of the buckwheat field in the background (one of Tarkovsky’s childhood memories) and a young woman (Alexei’s mother) in long shot, sitting side saddle on a wooden fence rail, smoking a cigarette and facing the field while apparently looking at some thing moving in the far distance. It is the combination of the long take and the unusual mobility of the camera that pulls out the time-pressure from this shot. Specifically, the camera tracks forward slowly toward the back of the woman, favoring neither her nor the expansive field in the background, hesitating on her, but then moving past her to the man in the extreme background. By not cutting into the continuity of time, it is able to further register the direct feeling of time as it moves forward, passing her on its way into a view of the field and the mysterious point of interest, the stranger (passer-by). 

[Source: David George Menard, A Deleuzian Analysis of  Tarkovsky’s Theory of Time-Pressure, Part 2: A Textual-Analysis of Tarkovsky’s Mirror, 2003. ]