If acheiropoietos images are for Godard the ultimate aesthetic and conceptual model for his cinema, Tarkovsky’s reference to icons remains unexplained. Nevertheless, Bonfand dares to write that ‘Takovsky’s films are for cinema in general what the icons are for painting’ (239). It is not with filming real icons (Andrei Rublev, 1969) that Tarkovsky expresses the iconic value of his work, but rather from that moment on, in the cinematic construction of the shots themselves. Tarkovsky builds his sho