| Cast overview: | |||
| Hilda Péter | ... | Katalin Varga | |
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Norbert Tankó | ... | Orbán Varga |
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László Mátray | ... | Zsigmond Varga |
| Roberto Giacomello | ... | Gergely | |
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Tibor Pálffy | ... | Antal Borlan (as Tibor Pálfy) |
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Melinda Kántor | ... | Etelka Borlan |
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Sebastian Marina | ... | Gergely's Brother-in-Law |
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Attila Kozma | ... | Accomplice |
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Enikö Szabó | ... | Zsuzsa |
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Zsolt Páll | ... | Poultry Man |
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Florin Vidamski | ... | Husband |
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Fatma Mohamed | ... | Wife |
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Andrea Gavriliu | ... | LA Girl |
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Raluca Sava | ... | Sunflower |
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Szilvia Majláth | ... | Singing Girl |
In the beautiful, otherworldly Carpathian Mountains a woman is traveling with a small boy in a horse and cart, looking to punish those who once abused her. For years, Katalin has been keeping a terrible secret. Hitchhiking with two men, she was brutally raped in the woods. Although she has kept silent about what happened, she has not forgotten, and her son Órban serves as a living reminder. When her village discovers her secret, Katalin's husband rejects her. With nothing to lose, she is free to seek revenge on the perpetrators. As she puts human faces to horrible acts, she is forced to consider that morality might not be as black and white as she had imagined. Written by Santa Barbara Intl Film Festival
Peter Strickland's debut movie Katalin Varga reminds me very much of another recent British film, Asif Kapadia's 2007 effort Far North, which is also a folk horror story about an outcast and her child. Stickland uses the dank forest of Romania instead of the perilous ice flows of the north, but the movies are birds of a feather, low budget movies intended to tap primal energies.
Children run away from Katalin Varga, a darkly pretty woman with live-wire eyes, who's altogether too spirited to remain unmolested in the time-capsuled world with which the movie presents te viewer. Folk have mobile phones, but Katalin still travels by horse-drawn cart, and men still make hay in the fields with pitchforks. Gossip in Katalin's village is poisonous enough to make Clouzot's vision in Le Corbeau appear positively made of marshmallow. Following the repurcussions of gossip regarding Katalin's past, she travels with her child into an apparently infrastructure-less hinterland on a dark mission, like black lightning.
It's no surprise to find, following shot after shot of foreboding nature scenes, that this is a tragedy, in a cul-de-sac structure similar to Monte Hellman's brilliant 1965 movie Ride in the Whirlwind.
It's a brutal movie, in structure rather than in screen violence, which there is remarkably little of, and which is generally obscured in incoherence when it occurs. It's almost senseless and left me with a directionless primitive anger.