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.
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.
"Kárhozat / Damnation" tells the story of Karrer (Miklos B. Szekely), a depressed man in love with a married woman (Vali Kerekes) who sings at the local bar, Titanik. The singer has broken 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 (Gyula Pauer), 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 (Gyorgy Cserhalmi), who has fallen on hard times. This gets the husband out of the way for a while, but things don't go as Karrer 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, leaving Karrer in despair, alienated from...Written by
Ulf Kjell Gür
The film demonstrates in the most eloquent manner how much colour one can
be found on black and white film emulsion. Béla Tarr and Gábor Medvigy his
cinematographer, tell the simple story in a sequence of very long shots, that are seemingly very realistic. The apparent realism in the film is spread into thin layers of detailed information in the composition of each frame, and add up to a full cinematic view on reality. Each shot tells a story, that relates not only to the characters and the plot, but mainly correspond with thoughts and ideas of a
different plot the visual plot. The visual delivery of the plot, so it seems, is more important then the plot itself. In one shot we can see a wide lens close up, lit with meticulous attention to every hair lock on the actress' head, develop into a panning shot of a crowd in the foreground and the hero in the background (in focus!), when each of the
events is lit in a different way so the audience would be able to tell the hero from the crowd, and each character is lit to his personal lighting theme. Gábor
Medvigy uses light like Ennio Morricone uses music.
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