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

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Overview

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View company contact information for Satantango on IMDbPro.
Release Date:
28 April 1994 (Hungary) See more »
Genre:
Plot:
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 »
Awards:
2 wins See more »
User Reviews:
Tantric Cinema See more (45 total) »

Cast

  (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 Székely B. ... Futaki
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)
 
Stunts
Zoltán Gulyás Kiss .... stunt arranger (uncredited)
Krisztian Kery .... utility stunts (uncredited)
 
Camera and Electrical Department
Elõd Kürtös .... gaffer
Zsigmond Molcsány .... gaffer (as Zsigmund Molcsán)
Tamas Nyerges .... steadicam operator (as Tamás Nyerges)
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
 
Thanks
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 »
Runtime:
450 min
Language:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
The film, like many of Béla Tarr's films, contains one of the longest average shot lengths in any motion picture: 145.7 seconds. A single long take approximately 4 hours into the movie lasts an incredible 10 minutes, 14 seconds.See more »
Quotes:
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 Elephant (2003)See more »

FAQ

Is "Sátántangó" based on a novel?
See more »
27 out of 38 people found the following review useful.
Tantric Cinema, 11 July 2008
Author: furious_jorge from Canada

There really is no way to evaluate this film without assessing it as a 7 1/2 hour death trudge. The runtime is the purpose of the film and Bela Tarr knows it. There really is no way to spoil this film because it barely has a plot and does its best to divert itself from it once it gets going. Even if you know the sort of repetitious psychological torture you're about to subject yourself to you still have to endure it.

Although I certainly took it as a tantric cinematic experience, I won't say that I enjoyed it nor that I particularly expected to enjoy it. So far as I know nobody has ever been forced to sit through this film Clockwork Orange style. As a voluntary experience the film is just a method for the audience to confront its own masochism and the dreariness of its existence.

That said, I think that in the 7 hours I spent watching it (about 25 minutes were lost due to it being a Pal conversion and running imperceptibly faster than usual) maybe 2 1/2 hours were brilliant. Of course, I can't assess whether those moments of brilliance coming later on in the film were actually brilliant or of I had just begun to submit to the film the way interrogation subjects start to crack after sleep deprivation.

The film has some very strong suits, namely the cinematography and setting. There were some moments where I laughed more than I had ever laughed in a film but I think that might have just been from cracking under pressure. I did think the last shot was perfect, although it would have been better without the final voice over.

Also, the one game that I played throughout the film that kept me going was "Which Andrei Tarkovsky film does this most resemble?" While I do think that Bela Tarr has certainly championed his own form of patent miserablism, I did notice about eight shots (amounting to about an hour of the film if not more) that looked entirely cribbed from Tarkovsky's repertoire. Maybe someday I'll edit out the Tarkovsky film located within this film and see if I can pass it off on anyone unfamiliar with Tarr.

That said, I'm... happy(???) that I sat through the whole thing, if only because afterward I got to go for a nice long bike ride and enjoy the fact that the world is in color and I don't live in a post communist society. Maybe that's how Albert Hoffmann felt.

I will say that I was disappointed in the film. Although that's kind of like being disappointed with the melody in a John Cage piece. I really loved Werckmeister Harmonies but I despised Damnation. This one falls pretty evenly between the two, it just happens to fall from space, burn up on re-entry and take seven hours to hit the ground.

In the end the audience only has the same thing to hold on to as the characters living in these miserable conditions; that they endured.

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