In this article Andrei Tarkovsky’s films are studied through the lens of existential philosophical traditions. At the heart of Tarkovsky’s narratives lies a yearning for authenticity, a need for freedom and an intention to communicate with otherness in its various manifestations. Whereas spirituality is clearly an important factor in Tarkovsky’s aesthetic explorations, we focus on materiality and corporeality: a violent sensuality, associated to what Albert Camus perceives as a revolt of the flesh, plays a crucial part in Tarkovsky’s seven films. A desire to escape oppressive aspects of everyday reality in order to approach an ideal location (mostly related to memories of childhood) gives rise to the urgent need for transcendence described in Tarkovsky’s body of work. The two key terms, the notions of transcendence and space, are closely related to one another. The importance of poetry, not as a literary term, but as a way to interpret and challenge everyday reality, will be a key factor in the reading of this process.