a hidden camera to interview her on the pretext that it was research for the film. This scene was one of the main reasons Vadim Yusov, the cameraman for all of Tarkovsky's previous films, refused to work with him on this film. At various times, the script and the film were titled Confession, Redemption, Martyrology, Why are you standing so far away?, The Raging Stream and A White, White Day (sometimes also translated as A Bright, Bright Day). While filming, Tarkovsky decided to title the film Mirror. The film features several mirrors, with some scenes shot in reflection. A poster of Tarkovsky's 1969 film Andrei Rublev is seen on a wall. Mirror is the third film in a series in which Tarkovsky references Andrei Rublev, along with his eponymous 1969 film and Solaris (1972), in which a bust of the painter is seen in the main character's room. Casting Initially, Tarkovsky considered Alla Demidova and Swedish actress Bibi Andersson for the role of the mother. In the end, he chose Margarita Terekhova. Filming Principal photography began in July 1973 and ended in March 1974. Outdoor scenes were shot in Tutshkovo, near Moscow, and indoor scenes were shot at the Mosfilm studio. The film's naturalist style required Terekhova to forego makeup. Filipp Ermash initially rejected the film in July 1974. One reason was that it was incomprehensible. Tarkovsky was infuriated by the rejection and toyed with the idea of making a film outside the Soviet Union. Goskino ultimately approved Mirror without any changes in fall 1974. Release Mirror never had an official premiere and had only a limited, second category release with only 73 copies. Although it was officially announced for September 1975, it was shown as early as March 1975. Reception and legacy When Mosfilm critics were asked in November 1974 to evaluate Mirror, responses were divided. Some viewed it as a major work that would be better understood by future generations; others dismissed it as an unfocused failure and believed that even more cultured viewers would find its story opaque. This resulted in very limited distribution. Many audience members walked out of theatrical screenings, but those who liked the film were ardent in their praise. In a 1975 New York Times article, James F. Clarity wrote, "in the first round of published reviews, in which some of Mr. Tarkovsky's fellow film makers evaluated his new work, there is much