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A londoni férfi (2007)

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 »


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Kárhozat (1988)
Crime | Drama | Romance
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A lonely barfly falls in love with a married bar singer.

Director: Béla Tarr
Stars: Gábor Balogh, János Balogh, Péter Breznyik Berg
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

A large, claustrophobic apartment is the setting for this intense chamber drama. In this dense setting, the inhabitants of the apartment reveal their darkest secrets, fears, obsessions and hostilities.

Director: Béla Tarr
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An innocent young man witnesses violence breaks out after an isolated village is inflamed by the arrival of a circus and its peculiar attractions, a giant whale and a mysterious man named "The Prince".

Directors: Béla Tarr, Ágnes Hranitzky
Stars: Lars Rudolph, Peter Fitz, Hanna Schygulla
Family Nest (1979)
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

The breakdown of the relationship of a couple by living in a flat of the husband's parents.

Director: Béla Tarr
Stars: Laszlone Horvath, László Horváth, Gábor Kun
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

A rural farmer is forced to confront the mortality of his faithful horse.

Directors: Béla Tarr, Ágnes Hranitzky
Stars: János Derzsi, Erika Bók, Mihály Kormos
Satantango (1994)
Comedy | Drama
    1 2 3 4 5 6 7 8 9 10 8.6/10 X  

Plotting on a payment they are about to receive, residents of a collapsing collective farm see their plans turn into desolation when they discover that Irimiás, a former co-worker who they thought was dead, is coming back to the village.

Director: Béla Tarr
Stars: Mihály Vig, Putyi Horváth, László feLugossy
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

A husband and wife, drifting apart, reflect on the events leading up to the worst argument of their marriage.

Director: Béla Tarr
Stars: Judit Pogány, Róbert Koltai, Kyri Ambrus
Szabadgyalog (1982)
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

Portrait of a young unstable man, unable to find happiness with a woman. Once a factory worker and nurse. Plays the violin, get kicked out of music school. Becomes a disc jockey.

Director: Béla Tarr
Stars: András Szabó, Jolan Fodor, Imre Donko
Macbeth II (TV Movie 1982)
    1 2 3 4 5 6 7 8 9 10 6.5/10 X  

In this powerful short film, the renowned William Shakespeare play is stripped down to the bare essentials, consisting of two lengthy shots.

Director: Béla Tarr
Stars: György Cserhalmi, Erzsébet Kútvölgyi, Ferenc Bencze
    1 2 3 4 5 6 7 8 9 10 6.2/10 X  

Documentary about a hostel for workers. An old worker suspected of stealing a motor gets fired from the factory and must leave the hostel.

Director: Béla Tarr
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

Revisits of locations on the Great Hungarian Plain - the puszta - that were used in Tarr's Sátántangó and Werckmeister harmóniák. Recitations of short lyric poems by Hungary's national poet Sándor Petofi. The film is shot in color.

Director: Béla Tarr
Stars: Mihály Vig
Comedy | Drama
    1 2 3 4 5 6 7 8 9 10 5.9/10 X  

An anthology film is a collection of short film projects by different directors for a common aim. Usually they are unified by a common theme - in this case, the European Union.

Directors: Aki Kaurismäki, Fatih Akin, and 24 more credits »
Stars: Johanna Troell, Safia Aggoune, Abel Alves


Cast overview:
Maloin felesége
Ági Szirtes ...
István Lénárt ...
Londoni rendõrfelügyelõ
Gyula Pauer ...
Brown segítõtársa
Kati Lázár ...
Henriette fõnökasszonya
Éva Almássy Albert ...
Kurva a kocsmában
Ágnes Kamondy ...
(as Ági Kamondy)
László feLugossy ...
Vendég a kocsmában
Philippe Guerrini ...
Szõrmekereskedõ 1
Jacques Pilippi ...
Szõrmekereskedõ 2
Alfréd Járai ...
Vendég a kocsmában 2


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 control room on top of a high iron traverse from where he can see the whole bay. Suddenly he notices that the first of the disembarking passengers, a tall thin figure (a certain Brown as it will turn out later) leaves the harbor, but not on the usual route: after getting through customs, he goes around the dock and then withdraws into a dark corner, waiting. Opposite him, in front of the ship, another man soon appears and throws a suitcase towards the man on the shore. He goes and picks it up, then waits in an dark corner for the other man to join him. When he arrives, however, they begin to quarrel and finally, in the course of the vehement fight, due to a hit that turns out to be fatal, the shorter one falls in the water and sinks, clutching the suitcase in his hand. Maloin is watching the scene, ... Written by Juliusz Kossakowski

Plot Summary | Add Synopsis

Plot Keywords:

suitcase | night | money | ship | seaside | See All (22) »


Crime | Drama | Mystery


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Release Date:

31 January 2008 (Hungary)  »

Also Known As:

The Man from London  »

Filming Locations:


Box Office


€6,000,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?


Bela Tarr - I could clearly imagine the port, but since Hungary's have no port at any sea, I had to go out and search of a suitable location and settled on the old port of Bastia in Corsica. See more »


When Maloin and the bartender set up the chessboard and pieces for their daily game, they place the board with a black square in the lower right corner. (The baseball equivalent would be to have the catcher and batter set up at first base instead of home plate!) See more »


Version of L'homme de Londres (1943) See more »

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User Reviews

My first Tarr experience
19 May 2015 | by (China) – See all my reviews

Admittedly it is daunting to start watching my very first Béla Tarr's works (with his wife and longtime editor Ágnes Hranitzky credited as the co-director), who has already retreated to a permanent retirement in filmmaking after THE TURIN HORSE (2011), as his oeuvre is mostly notorious for stirring audience's usual viewing habits with long takes exceedingly overstay their length of tolerance, a mixed anticipation and perturbation has overtaken me when I selected his lesser praised 2007 feature as the very first introduction piece, rarely I was in such a state before even embarking on the ritual of watching a film.

I would be dishonest if I say that the opening 13-minutes long take doesn't put me into a split second of slumber severe times, but how can anyone not to be flabbergasted by its solemn chiaroscuro grandeur, rigorously composed to illustrate a key event without spoon- feeding what is happening to audience, it is a paradigm-shifting innovation deserves admiration and endorsement, and more impressive in Tarr's long takes are not counter- narrative, in fact, he meticulously orchestrates the narrative within the long-takes, invites audience to be fully aware of our own self-consciousness towards the happenings on the screen during the overlong shots, particularly when framing at the back of characters' heads or the ones linger on characters' facial expressions as if they are tableaux vivants after the dramatic occurrences.

Once I passed the early stage of maladjustment, the film tends to be rather galvanising (an accomplishment should also be ascribed to composer Mihály Vig's resounding score with accordion or pipe organ), adapted from Belgian writer Georges Simenon's 1934 French novel 1934 L'HOMME DE LONDRES, Tarr transmutes the thrilling plot to an existential quest of our protagonist Maloin (Krobot), who has incidentally discovered a windfall after witnessing a murder during his night shift as a switchman in a French-speaking port town where a harbour and the wagon station are conveniently located with each other. The subsequent storyline involves the investigation of a senior detective Thompson (Lénárt) from London and domestic wrangles with his overwrought wife Camélia (Swinton) when he splurges their money wantonly, plus the British murderer Brown (Derzsi) is very eager to get the money back.

Tarr avoids any choppy development devices to pander for audience's attention span, he cooks up an equivocal scenario in the end, we never know the critical event happened inside the hut (Brown's hideout) as Tarr's camera fixates itself firmly outside the hut with its door closed, and regarding to Maloin's following behaviour, after knowing his character for almost 2-hours, each of us can give various motivations contingent on our viewings of the incident Tarr ingeniously chooses not to show us.

The film is infamous also for the suicide of its producer Humbert Balson in 2005, just before the shooting due to the apparent financial burdens of Tarr's hefty Corsican setting, so the reality check is even grimmer than the formidable fiction. What can I say? My gut feeling tells me I'm officially on board with Tarr's filmic methodology and all the trappings, his sui generis aesthetic language soundingly enshrines his filmography into the lofty tier of contemporary auteurism and maybe one day he will curtain his retirement and surprise us if inspiration strikes!

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