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.
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.
"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
I watch Bela Tarr's films over again with endless fascination. The length is not a problem: No longer that many pieces of music. If you can concentrate through a Wagner opera and I hope you can, then a Tarr film is not very long. All the films are very much products of team work but lead by an autocratic man who knows exactly what he wants, hence the seam free quality of the experience, It is that, rather than the length which requires the concentration. I have not found it mentioned often enough but there is much humour in his films, Karrer does a reprise of Gene Kelly, which is then itself parodied near the end of the film. Damnation is maybe still my favourite, I suppose for the mesmerising way sound is used to structure a complex web of association, but then all of the available late films has so much to offer
3 of 3 people found this review helpful.
Was this review helpful to you?
| Report this