Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the... See full summary »
An illuminating and extremely rare documentary profile of one of the great filmmakers of our time, Bela Tarr. Filmed during the production of The Turin Horse, his final film, Tarr Bela: I ... See full summary »
This story takes place in a small town on the Hungarian Plain. In a provincial town, which is surrounded with nothing else but frost. It is bitterly cold weather - without snow. Even in ... See full summary »
One night Maloin, a switchman at a seaside railway station situated by a ferry harbor, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his ... See full summary »
In a small, dilapidated village in 1990s Hungary, life has come to a virtual stand-still. The Autumn rains have started. A few of the villagers expect to receive a large cash payment that ... See full summary »
Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away... Written by
The film demonstrates in the most eloquent manner how much colour one can
be found on black and white film emulsion. Béla Tarr and Gábor Medvigy his
cinematographer, tell the simple story in a sequence of very long shots, that are seemingly very realistic. The apparent realism in the film is spread into thin layers of detailed information in the composition of each frame, and add up to a full cinematic view on reality. Each shot tells a story, that relates not only to the characters and the plot, but mainly correspond with thoughts and ideas of a
different plot the visual plot. The visual delivery of the plot, so it seems, is more important then the plot itself. In one shot we can see a wide lens close up, lit with meticulous attention to every hair lock on the actress' head, develop into a panning shot of a crowd in the foreground and the hero in the background (in focus!), when each of the
events is lit in a different way so the audience would be able to tell the hero from the crowd, and each character is lit to his personal lighting theme. Gábor
Medvigy uses light like Ennio Morricone uses music.
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