The purpose of this study is to reveal elements of Neoplatonismand the ideology of Dionysius the Areopagite in the structure of the film“Andrei Rublyov” by Andrei Tarkovsky. Dionysius the Areopagite is known asa Syrian Christianity spokesman, an ascetic who authored literary works in theNeoplatonic atmosphere at the end of the 5th century. The metaphysical principlesof Neoplatonic philosophy postulate the ideas of the “One,” “Intellect,” and “Soul”that are based on the ideology of Plotinus. The “One” in Neoplatonic philosophyis a transcendental and limitless being, the source of all creation and the firstprinciple. “Intellect” is the divine mind first emanated from the “One,” and the“Soul” is emanated from the “Intellect.” And lastly, the lowest substance of thebeing is produced.The first evidence that is presented in the film in the introductory scene,when a farmer flying across the sky in a hot-air balloon crashes down to earthalong with the balloon. By recreating an era when the hot-air balloon wasn’t eveninvented and through the image of the crash, the director introduces an imagethat corresponds to the “emanation” in the ideology of Dionysius the Areopagite,who said “In the creationism of Neoplatonism, all creation is emanated from theOne, and this emanation is a type of corruption and imperfection.” The openingscene of crashing and collapse down to earth symbolizes the escape from themonastery to the world and from the world of ideas to the world of reality.The wandering of Andrei Rublyov shown in the latter parts of the film canbe viewed as an analogy to the period of “purification” that is presented inthe philosophy of Dionysius the Areopagite. In the film the three phases ofadvancing toward divinity begin with “self-purification” then “illumination” andfinally the “union” of becoming one with the ultimate existence. The directorshows Rublyov achieving top artistic heights through suffering, pain, andartistic skepticism. In particular, the representative episode that demonstratesthe divine equivalence is the one where Rublyov is gazing at the boy Boris whois making a bell on behalf of his dead father. Here, Andrei Tarkovsky uses theboy who inspires national spirit through casting a bell to foreshadow Andrei’svictory over his own fears and ignorance based on faith and strength.