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.
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.
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.
Incredible film-making, one five minute take, and one sixty two minute take...
This is one of the most unique, fascinating films ever made from the Scottish play. The film was made for Hungarian TV, and it was shot on old fashioned, analog video. Yet Bela Tarr (one of the greatest filmmakers working today) made an incredible film. There are a mere 2 shots in the film. The pre-credits shot runs five minutes, the post credits shot runs 62 minutes. It's incredible that Tarr composed a 62 minute take, but that he does it so well, and you find yourself forgetting about the length of the shot, and are drawn into Tarr's world. Tarr is a master filmmaker, one of the greatest ever (certainly the best ever to emerge from Hungary), and this is one of his most fascinating films.
The film is available as a bonus feature on Facets's DVD of Satantango.
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