A cascadence of uncanny images and incidents that reflect memories of Soviet Russia in three distinct periods, Mirror may seem to be a baffling enigma at first glance, yet it is a rigorous execution of film-as-poetry. Editor Lyudmila Feiginova assembled Mirror with director Tarkovsky according to his idea that cinema was ‘sculpting in time’. In its juxtapositions, it is Feiginova’s work that gives Mirror its trippy, nonlinear logic. Among several contributions to the structure, she intuitively suggested the very first scene in the film, thus unlocking this cinematic dream-state of lucid, emotional beauty.