This book written by Vincent Amiel and published by the Paris-based publisher 202 éditions is about the film Andrei Rublev, made in 1966 by the then still young film legend Andrei Tarkovsky. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Bite Hard Wire (by Gleb Guralnyk).

Polish movie poster for Soviet sci-fi art film Solaris (1972), designed by Andrzej Bertrandt. The film title “Solaris” is set in Disco (with a custom A). “Stanisław Lem”, the author of the 1961 novel from which the film is based, is set in Calypso. The director’s name, “Andrei Tarkovsky”, is set in Helvetica Black Extended. Castellar is used for “MFF” and “Cannes”. Additional fonts include Univers 53 Extended, Clarendon Medium, and Baskerville Old Face Regular.

From Wikipedia, regarding the film’s plot and accolades:

The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises.

Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was nominated for the Palme d’Or. It received extremely positive reviews from critics. It is often cited as one of the greatest science fiction films in the history of cinema.

Free Flight, a catalogue for the eponymous exhibition at Tretyakov Gallery in Moscow, has been awarded by the Society of Typographic Arts. The book, designed by Konstantin Eremenko, employs several styles of the Gauge type family.

From Tretyakov Gallery:

The Free Flight show is a result of collaboration between the Moscow-based AZ Museum and the State Tretyakov Gallery. Dedicated to the creative legacy of the renowned filmmaker Andrei Tarkovsky and of the Soviet Nonconformist artists, it seeks to present the non-official art of the 1960–1980s within the context of Tarkovsky’s cinematic universe.

The designer of this East German film program, Barbara Tucholke, had more luck laying her hands on proper Motter Ombra than Gisela Kossatz. The 4-page pamphlet was published by Progress Film-Verleih, Berlin, for the screening of Andrei Tarkovsky’s Solaris (1972) in the GDR, 1974.

An unexpected typeface choice for the opening titles of Andrej Tarkovsky’s movie Stalker from 1979. A guide leads two men through an area known as the “Zone” to find a room that grants wishes. This movie about existential, philosophical and poetic issues, is shot in a desolate landscape – and despite all silence in its scenes, the movie opens with titles set in screaming, yellow, bold Pump.