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.
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.
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.
One night Maloin, a switchman at a seaside railway station situated by a ferry harbor, witnesses a terrible event. He is just watching the arrival of the last ferry at night from his control room on top of a high iron traverse from where he can see the whole bay. Suddenly he notices that the first of the disembarking passengers, a tall thin figure (a certain Brown as it will turn out later) leaves the harbor, but not on the usual route: after getting through customs, he goes around the dock and then withdraws into a dark corner, waiting. Opposite him, in front of the ship, another man soon appears and throws a suitcase towards the man on the shore. He goes and picks it up, then waits in an dark corner for the other man to join him. When he arrives, however, they begin to quarrel and finally, in the course of the vehement fight, due to a hit that turns out to be fatal, the shorter one falls in the water and sinks, clutching the suitcase in his hand. Maloin is watching the scene, ...Written by
The suicide of producer Humbert Balsan on 10 February 2005 prompted director Béla Tarr to shut down production of this film, after disputes with the other producers over a possible change in the film's financing. See more »
When Maloin and the bartender set up the chessboard and pieces for their daily game, they place the board with a black square in the lower right corner. (The baseball equivalent would be to have the catcher and batter set up at first base instead of home plate!) See more »
Completely & unbelievably pretentious. Forget beautiful cinematography, it was just long black & white shots & there are only so many times one can play on shadow & light before even the dimmest member of the audience gets the message. Forget the tragedy of the human condition, it's all been done before & in a much better, so much less pretentious way.
As for the switching between English & French...why? Pretentious rubbish. I am both English & French & it annoyed ME!
The symbolism was so heavy-handed it was like being hit with a sledgehammer. So little sublety that at times I was actually convinced it was a spoof!
The director obviously felt that if he made a film boring & pretentious enough, everyone would think it was terribly 'deep' & judging by some the comments on here, he was right!
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