After witnessing a crime during his night shift as railway switchman near the docks, a man finds a briefcase full of money. While he and his family step up their living standards, others start looking for the disappeared case.
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.
Miklós Székely B.
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.
In a work of site-specific expanded Cinema, going beyond his earlier narrative features,the director presents a middle and upper class audience gathered in a museum setting with images of ... See full summary »
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.
A young boy plays an accordion in a shopping mall. Béla Tarr picks up the camera one more time to shoot his very last scene. It is his anger about how refugees are treated in Europe, especially in Hungary.
The story of Karrer, a depressed man in love with a married woman (Vali Kerekes) who sings at the local bar, Titanik. He is threatened by her husband and hangs about outside her abysmal apartment building, begging for admittance, and is at one stage successful. But she breaks off their affair, despite her profession of love for him. She wants to improve her life. She dreams of becoming famous, but she herself embodies all of Karrer's hopes and dreams. Karrer is offered smuggling work by Willarsky, the bartender at Titanik. Despite his lack of other prospects, Karrer tries to haggle with Willarsky over his take. Karrer eventually decides to offer the job to the singer's husband, Sebastyen, who has fallen on hard times. This gets him out of the way for a while, but things don't go as he plans with the singer. There's a big, drunken dance, which everyone in town attends (though one demented soul prefers to dance maniacally in the rain outside). Afterwards, one betrayal falls upon another...Written by
With "Kárhozat / Damnation", the first of his collaborations with novelist Laszlo Krasznahorkai, Bela Tarr adopts a formally rigorous style, featuring long takes and slow tracking shots of the bleak landscape that surrounds the characters. See more »
In the Dance/Party scene, the band and the music are clearly out of sync. See more »
An exceptionally brilliant movie. But this is not for everyone. Beautifully shot in black and white, the director bravely specialises in spectacularly lengthy shots which the viewer's brain will either become absorbed by or reject for tedium. An interesting dimension which can heighten involvement in these long shots (or annoy the hell out the unconvinced) is rhythmical sound - be it cranky machinery (like the relentless mechanical pulley system outside the 'central' character's window) or people dancing to cabaret music. There is a detachment to the camera-work, particularly in the dance band sequences, which reminded me of Kubrick. Again this is an approach which will alienate many viewers but it lends a kind of philosophical power what would otherwise be mundane documentary social observation.
I watched this after the more recent Werckmeister Harmonies on the current double-disc DVD edition available in the UK which is a superb issue and has an interview with the Director as a bonus feature. Interesting to note that he states quite categorically that he intends no allegorical/symbolic element to his work.
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