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Satantango (1994) More at IMDbPro »Sátántangó (original title)


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Release Date:
28 April 1994 (Hungary) See more »
In a small, dilapidated village in 1990s Hungary, life has come to a virtual stand-still. The Autumn rains have started... See more » | Add synopsis »
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Plodding and Plodding and Plodding along See more (45 total) »


  (in credits order) (complete, awaiting verification)
Mihály Vig ... Irimiás
Putyi Horváth ... Petrina (as Dr. Putyi Horváth)
László feLugossy ... Schmidt
Éva Almássy Albert ... Schmidtné (as Éva Almási Albert)
János Derzsi ... Kráner
Irén Szajki ... Kránerné
Alfréd Járai ... Halics
Miklós B. Székely ... Futaki (as Miklós Székely B.)
Erzsébet Gaál ... Halicsné
György Barkó ... Iskolaigazgató
Zoltán Kamondi ... Kocsmáros
Barna Mihók ... Kerekes
Péter Dobai ... Százados
András Bodnár ... Horgos Sanyi
Erika Bók ... Estike
Peter Berling ... Orvos
Ica Bojár ... Horgosné
Gyula Pauer
Ernõ Mihályi
Mihály Kormos
András Fekete
Andor Simai
István Juhász ... Kelemen
Ferenc Kállai ... Orvos (voice: Hungary)
Katalin Krizsánné Kovács
Mihály Ráday ... Narrator (voice)
Vilmosné Pataki
Mária Borbély
Kati Makrányi
Zsuzsa Fodor
Beatrix Jeszensky
Rita Deák Varga
Frigyes Hollósi (as Frigyes Hollósy)
Ágnes Kamondy
Kína Vetõ
Mia Santamaria
József Kresinka

Directed by
Béla Tarr 
Writing credits
László Krasznahorkai (novel "Sátántangó")

Mihály Vig (story) &
Péter Dobai (story) &
Barna Mihók (story)

László Krasznahorkai (screenplay) &
Béla Tarr (screenplay)

Produced by
György Fehér .... producer
Joachim von Vietinghoff .... producer
Ruth Waldburger .... producer
Original Music by
Mihály Vig 
Cinematography by
Gábor Medvigy 
Film Editing by
Ágnes Hranitzky 
Production Design by
Sándor Kállay 
Set Decoration by
Sándor Katona 
Béla Zsolt Tóth 
Costume Design by
János Breckl 
Gyula Pauer 
Production Management
Tibor Dimény .... production manager (uncredited)
Gábor Koncz .... production manager (uncredited)
Gábor Téni .... unit manager (uncredited)
Second Unit Director or Assistant Director
Zoltán Gazsi .... assistant director
János Hollós .... assistant director
Ágnes Hranitzky .... associate director
András Kécza .... assistant director
Art Department
Gyula Pauer .... art consultant
Béla Tarr .... visual concept
Sound Department
József Kardos .... sound recordist
György Kovács .... production sound mixer
István Pergel .... sound recordist (as István Perger)
Csaba Erös .... sound recordist (uncredited)
György Kovács .... sound re-recording mixer (uncredited)
Lajos Ledniczky .... boom operator (uncredited)
Special Effects by
Péter Pásztorfi .... special effects technician (as Péter Pásztorffy)
Zoltán Gulyás Kiss .... stunt arranger (uncredited)
Krisztian Kery .... utility stunts (uncredited)
Camera and Electrical Department
Elõd Kürtös .... gaffer
Zsigmond Molcsány .... gaffer (as Zsigmund Molcsán)
Tamás Nyerges .... steadicam operator
László Ramm .... camera operator
Atilla Szucs Sr. .... grip (as Attila Szûcs)
András Tóth .... grip
János Tóth .... grip
István Õsz .... gaffer
Editorial Department
András Bederna .... color grader
Music Department
András Nyerges .... music recordist
Other crew
József Bagyura .... production assistant
Mária Csapó .... production assistant
Melinda Csönge .... production assistant
Csaba Erös .... production assistant (as Csaba Erõss)
Csaba Hagen .... production assistant (as Csaba Hágen)
Mónika Hajnal .... production assistant
Mari Havasi .... production assistant (as Mária Havasi)
Péter Hermann .... production assistant
Beáta Hoffmann .... production assistant (as Beáta Hoffman)
Ferenc Hábetler .... production assistant
Brigitta Kajdácsi .... production assistant
Szilvia Kovács .... production assistant
Lajos Ledniczky .... production assistant
Erzsébet Lesetár .... production assistant
József Mezö .... production assistant (as József Mezõ)
Sándor Mátrai .... production assistant
Tamás Oláh .... production assistant
Tibor Oláh .... production assistant
Gyula Peterdy .... production assistant (as Gyula Peterdi)
Ferenc Simkó .... production assistant
Róbert Szabó .... production assistant
Éva Szentandrási .... production assistant
József Trombitás .... production assistant
Ferenc Török .... production assistant
Gyula Velez .... production assistant
Gyula Zámbó .... production assistant
Alf Bold .... dedicatee
Tibor Dimény .... special thanks
Gábor Koncz .... special thanks
Marcell Merza .... special thanks
Ernõ Mihályi .... special thanks
Tibor Orosz .... special thanks
Ulrich Ströhle .... special thanks
Sándor Sõth .... special thanks
Gábor Téni .... special thanks
Klári Téni .... with the support of
László Vincze .... with the support of
Karin Wegmann .... special thanks
Katalin Óvári .... special thanks
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Sátántangó" - Hungary (original title)
See more »
450 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Dorka Gryllus visited a friend on the set of Sátántangó, and was impressed by the whole "feeling of film making". It was then, when she decided to be a film actress - and in a few years, she became a famous Hungarian actress.See more »
Százados:Not that human life was so highly valued. Keeping order appears to be the business of the authorities, but in fact it's the business of all. Order. Freedom, however, has nothing human. It's something divine, something... our lives are too short for us to know properly...See more »
Movie Connections:
Referenced in The Debridement of Rome (2012)See more »


Is "Sátántangó" based on a novel?
See more »
62 out of 73 people found the following review useful.
Plodding and Plodding and Plodding along, 11 April 2007
Author: MacAindrais from Canada

Satantango (1994) ****

Satantango, Bela Tarr's 1994 7.5 hour masterpiece is incredible first and foremost in that despite its length and multiple shots of literally nothing taking place it is never, I repeat, never boring. This is one of the most incredible films I have ever seen. Complied of only 150 shots, many of which last for over 10 minutes, Tarr and his cinematographer manage to create a hypnotic and beautiful depiction of a desolated communal farm in post-communism Hungary. The scenery is at once withered and ugly, yet compellingly beautiful. The land is muddy and the buildings are in shambles. There are two scenes where main characters walk with the camera following as multitudes of trash blow along with them in the wind, creating a somehow hypnotic effect.

The film opens with literally a 10 minute shot following a herd of cows wandering through a seemingly rundown farm town. The camera makes what has to be one of the most incredible pans in cinematic history panning to the left for most of the ten minute scene. Who else but Bela Tarr would try such a thing; and who else but Bela Tarr could make it work so well.

The film follows the people of the farm in essentially three sections. The first section begins by showing Futaki having an affair with Schmidt's wife. Schmidt we find out is planning to run away with the money the town has made over the past year but comes home and is confronted by Futaki who has suck out only to come right back and knock on the door. They hear that the smooth talking Irimias and his sidekick Patrina, who have been believed dead by the town, are on their way back to town. The other residents, who all plan to take their money and leave town, seem to be under the thumb of Irimias and after hearing of his return meet at the local pub and discuss what to do and wait nervously for Irimias's arrival.

The scenes are broken down into 12 steps, such as in a Tango. Nearly all of which are connected in that we see what has already happened from another perspective. The first section as noted involves Schmidt and Futaki; the second and one of the most hypnotic in the film is of an overweight and frail doctor who sits in front of his window documenting the actions of the townspeople. He details how Futaki is slipping out of Schmidt's house, and then goes back in, a scene which we've already seen except this time it's from the window of the doctor's house. The doctor hulks around and then realizes he must leave his home to get more alcohol. Scenes go on like this weaving in out and out the story line from different points of view. The first third of the film deals with the realization of Irimias' return, and exposes the corruption of the citizen's capitalism by their greed. The second third is the post powerful. It documents a little girl who is conned by her brother and ignored by her mother. The only thing she has power over is her cat, and in order to feel that superiority she tortures and poisons the cat. I will not reveal how, but this section turns to tragedy which will be exploited by the smooth talking Irimias.

The final third deals with the corruption of Irimias's communist plan for the farm. He convinces them to give him the power and all the money that has been saved up only to con them. This section is brooding with satire, as is the first in some ways, and has shades of Orwell's animal farm – the dumb and obedient townspeople conned into subjugation by the charming Irimias.

Essentially, Satantango is a 2 hour movie shown without its cuts bringing it to 7.5 hours. The film never uses its drawn out scenes to further the narrative, but neither does it use them for simply aesthetic purposes either. The film's length and incredibly long shots seem to be rubbing the atmosphere right in our nose. Many shots have the camera move, raising and weaving and circling defining space like no other film. Some of the extended scenes are incredibly funny in bizarre ways, such as an extended dance seen (from which the film gets its title) where the villagers get drunk waiting for Irimias and Patrina, dancing to accordion music while the little girl peers in through the window; and another scene that circles the room while two officers dictate and type out Irimias's statement, cleverly changing vulgar statements (which I found hilarious) and in the middle of it all, sitting down and having a snack in real time! These scenes sound perhaps boring, but somehow Tarr makes them seem riveting and when they end it's almost sad to see it. Another incredible extended sequence sees the camera facing down at the sleeping villagers circling them ever so slowing as a narrator describes their dreams.

Satantango is a film like no other. Its scope is breathtaking and its style is beautifully crafted. Tarr's films are almost like ballets: the camera moves always gracefully and in ways that we would only imagine that a cut was necessary, never faltering and always creating incredibly beautiful dances, and they set a mood perhaps better than anyone else. Satantango is Tarr's masterwork, epic in every sense of the word. If you get the chance to see this one, do yourself a favor and experience all 7 and a half hours of its majestic and drab atmosphere. Satantango is film for the sake of film and art for the sake of art.


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Other 'visually beautfiul' films? mmeerrtt
Sooooo boring kamarnut
Where can I find this film? desh79
How can I watch it? MonoEnojado
Other great WALKING SCENES ?!? arkid77
Question about the Facets DVD of Satantango MichelleYeohFan
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