Odyssey vs Solaryis: Outward vs. Inward

We can look at the comparison between Tarkovsky's Solaryis and Kubrick's Odyssey in the same way we can see the Soviet Union and America. Kubrick's films epitomize cerebrality. He is analytical, methodical, and utterly meticulous. Tarkovsky, on the other hand, is emotion-based. His films provide a deep glimpse into the human condition, showcasing the human spirit. And here we have an interesting dichotomy: Tarkovsky, while brought up under a secular regime, is presented as humanistic; Kubrick, a product of an affluent upbringing in Protestant America, is materialistic, with his films highlighting a sublime aesthetic beauty.

With Solaryis, Tarkovsky is emphasizing the notion that before we can learn about the vast expanse of the universe, we must first learn about ourselves. It is an intimate knowledge, sharing its own set of difficulties wholly different but similar in importance with physics and mathematics. This is the materialistic vs spiritual distinction that permeates both director's ouvre. 2001 depicts the triumph of the cerebral intellect, with man leaving the confines of Earth and going into the ether to realize the unfulfilled potential of the universe. Then we have Solaryis, which showcases the spiritual side of humanity, with the main character attempting to find himself all throughout the film.

While Kubrick's Odyssey marked a trajectory looking outward, Tarkovsky's Solaryis marked a trajectory looking inward.