3 user 3 critic

Szabadgyalog (1981)

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.


Béla Tarr


Béla Tarr


Learn more

More Like This 

Family Nest (1977)
    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 7.4/10 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
    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
Stars: Hédi Temessy, Erika Bodnár, Miklós B. Székely
Kárhozat (1988)
Crime | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

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 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
Crime | Drama | Mystery
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

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.

Directors: Béla Tarr, Ágnes Hranitzky
Stars: Miroslav Krobot, Tilda Swinton, Erika Bók
    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
City Life (1990)
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

A kaleidoscopic panorama of the world.A visual anthology of twelve short stories by twelve innovative directors from all over the world.

Directors: Alejandro Agresti, Gábor Altorjay, and 11 more credits »
Satantango (1994)
    1 2 3 4 5 6 7 8 9 10 8.5/10 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
Drama | Mystery
    1 2 3 4 5 6 7 8 9 10 8.2/10 X  

An innocent young man witnesses violence break 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
    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
Macbeth II (TV Movie 1983)
    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


Credited cast:
András Szabó András Szabó ... András
Jolan Fodor Jolan Fodor ... Kata
Imre Donko Imre Donko ... Csotesz
Istvan Bolla Istvan Bolla ... Balázs
Ferenc Jánossy Ferenc Jánossy ... Festõmüvész
Imre Vass Imre Vass ... Egy munkás
Rest of cast listed alphabetically:
László Damus László Damus
Katalin Dr. Bacsik Katalin Dr. Bacsik
Józsefné Erdõs Józsefné Erdõs
György Fekete György Fekete
János Gyökér János Gyökér
János Géczi János Géczi
Károly Kisszabó Károly Kisszabó
László Kistamás László Kistamás
László Kurucz László Kurucz


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.

Plot Summary | Add Synopsis




R | See all certifications »





Hungarian | Slovak

Release Date:

28 January 1982 (Hungary) See more »

Also Known As:

L'outsider See more »

Filming Locations:


Company Credits

Show more on IMDbPro »

Technical Specs




Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


Hungarian Rhapsody No. 2
Written by Franz Liszt
See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Early exercise in realism from Hungarian master, Béla Tarr…
16 June 2015 | by starrynight05See all my reviews

Watching Béla Tarr's "The Outsider" was a similar experience for me to watching Bresson's "A Gentle Woman", in that both films saw me witnessing the use of color from a director that I had previously thought constitutionally incapable of anything but black-and-white. Tarr's vision of life, of course, is best suited to the black-and-white medium, as was Bresson's, but like "A Gentle Woman", the uncharacteristic use of color did nothing to sully my appreciation for this impressive film.

Tarr would become best known for his more formal, highly metaphysical works, such as "Damnation" and "Werckmeister Harmonies", but here, early in his career, we see him at the completely opposite end of the cinematic spectrum. In his early features, instead of sheer, unmitigated formalism, Tarr opted for absolute realism. These films are more political, where his later work tends to be more philosophical (nihilistic, specifically). Instead of Tarkovsky-esque camera-work infused with a certain Bressonian drabness, which is the style that dominates Tarr's later films, what we get here is something closer to Cassavetes than to Tarkovsky or Bresson.

Whether Tarr hadn't fully formed his vision of life and of cinema yet, or whether he simply didn't have the means to make films any other way at this point, I can't say for sure. But what's certain is that these early Tarr films are a completely different experience. An inferior one, ultimately, but they're still impressive films in their own right.

Tarr's debut feature, "Family Nest", from 1979, was a black-and-white exercise in kitchen sink realism, which is as dissimilar to the style of his later work as one can possibly imagine. Nevertheless, "Family Nest" bears some similarities to those later films in terms of content. All Tarr's films seem to incorporate characters who are trapped and paralyzed by either social or existential conditions. In "Family Nest", an indictment of the Hungarian society and government of the time, the prison was a social one, not a metaphysical one. As a result, there was actually an implication that, if freed from the oppressive weight of this flawed society, these characters might actually be able to find some degree of happiness. Characters in future Tarr films would not be so fortunate. In those films, it was the oppressive weight of human existence that imprisoned them, and that, unlike society, is entirely inescapable.

"The Outsider", released in 1981, continued predominately in the realist mode of "Family Nest". Tarr decided to go with color here, which was effective despite being inconsistent with his other films, but otherwise the style here is very similar to his first film. In both cases we have a low budget production with hand-held camera-work, nonprofessional actors (I believe), and an overall realist aesthetic. However, unlike "Family Nest", there are moments in "The Outsider" that really do move toward formalism. So you can tell that Tarr did at least have that vision inside of him when he made this film, even if he was just beginning to express it, and to nourish it as it evolved bit by bit into what would eventually become his preferred style of filmmaking.

Other than the superficial change to color, the place where "The Outsider" can be most contrasted with "Family Nest" is the source of the conflict, which was external in "Family Nest", and is internal in "The Outsider". On a content level, "The Outsider" is a bit of a cross between a traditional exercise in social realism and an existential meditation on the human spirit (i.e. Ingmar Bergman). In "Family Nest", the problems that were responsible for the misery of the central characters were largely external, originating outwardly in their flawed environment and social milieu. In "The Outsider", the fundamental barrier that stands between our protagonist and happiness is an inner one.

This chicken-egg conundrum was eventually resolved by Tarr, by the time he reached "Damnation", maybe before. In "Family Nest", the despairing human spirit is an echo of a broken social climate. The misery begins on the outside, and is carried inward by victims of a flawed system. In "The Outsider", however, this model of human suffering is reversed. Society is the fractured form spawned from existential discontent, an inherent burden of the human condition. Misery originates in the interior world of the human soul, and ripples outward into society, thus moving in a direction opposite to the one it took in "Family Nest".

Finally, in "Damnation" and Tarr's subsequent works, the question of from where human misery originates is resolved. Or, rather, I should say, it is ignored all together. It has been asked, and no answer having been found, it is set aside as inconsequential. In "Damnation", neither the tormented interior world of the soul nor the desolate exterior landscapes hold the source of human despair. Anguish is simply a reality of human life, and so we find it in both worlds: the internal and the external. The forsaken, barren landscapes of the physical world are simply a reflection of the anguish in our souls, and conversely, the suffering that is inherent to the human soul is merely a reflection of the cold and harsh universe that envelops us. The inner and the outer worlds of human existence are mirror images, and in that image we find despair, anguish, and misery. There is no origin.

Ultimately, "The Outsider" is a formative work for Tarr, and by no means one of his best films, but by any other standards than the extremely high ones that Tarr has set for himself with his more recent films, it's a legitimately impressive film. Expect something closer to Michael Fengler's "Why Does Herr R. Run Amok?" and not "Werckmeister Harmonies", for instance, and this will hopefully be as satisfying for you as it was for me. I much prefer formalism to realism, but in the latter category, it doesn't get too much better than this.

RATING: 8.00 out of 10 stars

1 of 1 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 3 user reviews »

Contribute to This Page

Recently Viewed