All human beings are bound to become bored at some point in their lives, humans become bored very easily and humans will grow more bored, more easily as well. Our current techno-capitalist way of thinking is shaping the human into a state of being where we will find ourselves without reason, driving itself into boredom. But our destiny is not our fate. This thesis is an investigation into Tarkovsky’s Stalker (1979) to show how this film is able to create a poetic relationship to the world as described by Martin Heidegger in philosophy and Andrei Tarkovsky in cinema. The thesis builds on Heidegger’s notions of Dasein, poetic dwelling, boredom, inter-esse (to be in the midst of things) and Tarkovsky’s notion of poetry as an awareness. The central questions to this thesis are: what is a poetic relationship to the world, as described by Heidegger and Tarkovsky, how can cinema achieve the depiction of this relationship and why is it important for this to be achieved?