摘要：Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension