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http://ita.mitindia.edu/buying-adderall-in-tijuana/ ">adderall xr vs. vyvanse for adults Despite its apparent formlessness, Andrei Rublev is precisely structured and entirely aesthetically coherent. Acts of creation are mirrored by acts of destruction, there are themes of flight, of vision, of presence and absence; the more you look, the more you see. And then there are the horses, Tarkovsky's perennial favourite: horses rolling over, horses charging into battle, swimming in the river, falling down stairs, dragging men out of churches. At times the screen resembles a vast Brueghel painting come to life, or a medieval tapestry unrolling. We're always conscious of life spilling out beyond the frame, and never conscious of the fact that this was made in the USSR of the 60s. In Tarkovsky's own turbulent time, the film lit all manner of controversy. Its Christian spiritualism offended the Soviet authorities; its depiction of Russia's savage history upset nationalists such as Aleksandr Solzhenitsyn, and its challenging form led to various cuts. After opening in Moscow in 1966, it was suppressed until the 1969 Cannes film festival, and didn't reach Britain till 1973.