All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
In a small, dilapidated village in 1990s Hungary, life has come to a virtual stand-still. The Autumn rains have started. A few of the villagers expect to receive a large cash payment that evening, and then plan to leave. Some want to abscond earlier with more than their fair share of the money. However they hear that the smooth-talking Irimias, whom they thought had died, is returning. They are apprehensive that he will take all their money in one of his grandiose schemes to keep the community going.
A REVIEW FOR MY #1 FAVORITE FEATURE FILM OF MY ENTIRE EXISTENCE, AND MAYBE FOREVER WITH A 99.5% PROBABILITY.
Don't read it as a review, but as a magazine article. This is the longest thing I have ever written about one single film, but it is also the only review that made me cry out of sentiment while constructing it.
Before starting to construct a modest, fully developed essay about Béla Tarr's Sátántangó, let's make a nostalgic resume about some of the most wonderful experiences cinema has offered throughout its history. German Expressionism represented the pinnacle of Berlin's technical vision and resulted in the most visually captivating and thought-provoking classic masterpiece up to a hair-rising degree. After the Second World…
Cinema undiluted, yet clouded; quintessential, yet corrupted; lucid, yet vague; high-minded, yet smothered in dirty shapes, postured to perfection. Designed to transport, to form a familiar, albeit foreign environment for its viewers through patient, sincere and expressive manipulation of audiovisual details, resulting in a pure-form, sensory-cinema experience. Indeed, Satantango is meticulously crafted to shift its viewers from their (position in a chair, or) place in reality, into the gut of a nonentity-like vehicle, slowly drifting, but at the same time quickly catapulting through the process of a bleak, syncopated, rhythmic flit with the dark heart of a total eclipse. In essence, caliginosity and crepuscule as an unfathomable, esoteric and profoundly inexplicable display of medium-mastery. And, in the end, one of the human race's single greatest accomplishments, both inside and outside the field of artistic creation.
An absolute masterpiece from Bèla Tarr, who really does prove he's one of the greatest directors of all time. Seven long hours pass beautifully, each of the 157 shots in the film precisely framed and captured to perfection. If I were to highlight only one sequence in this absolute fucking classic of all cinema, it would be the final 30 minutes, which are among the creepiest I've ever seen in a movie and leave a lasting impression that provokes nightmares and chills. Those thirty minutes alone make it one of the best films I have ever seen.
I can't explain it, I don't blame anyone for not believing me, in fact I didn't believe the reviews myself, but when I say that Satantango -- notorious for being over seven hours in length -- felt no more than two hours, I'm dead serious. I could understand how some might be bored by it, but every frame, each shot features far too much depth for me to remain uninvested -- I was mesmerized for this film's entire runtime. It's almost like a time machine, and I mean that in the best way possible. So soon after finishing it I am silenced from any analytical praise, but at the moment I am pretty confident in saying that Satantango is man's greatest achievement since the moon landing. This review is a mess, but fuuuuuuuck, Satantango is a masterpiece.
Throughout my experience with cinema as an art form I have come across a handful a films that affect me in a variety of ways. A film like 2001: A Space Odyssey was able to show me the transcendent ideas films have to offer. Paris, Texas was able to show me the beauty in human connection and a truth behind what a relationship is. Dancer in the Dark is a film that gave me an insight into the horrors of intimate death. Come and See, Last Year at Marianbad, It's Such a Beautiful Day, Paths of Glory and Magnolia are all films that has taught me the language of cinema and the power behind the dialogue between an artist and…
If you aren't convinced by all the 5-star reviews, let me tell you why you should watch this 7-hour long Hungarian classic.
1: It's a one of a kind film that you may only see once upon a lifetime.
2: The seven hours will go by faster than you think. This is a slow paced movie, but that doesn't mean it's boring.
3: You will enter a whole new world. I felt like I was around the characters rather than watching them.
4: It's gorgeous! Every single shot is so beautiful.
5: You'll have something to brag about. How cool isn't it to have experienced a seven hour long film?
6: The long takes are superb throughout. They serve a…
Ne sono uscito distrutto. Primo, perché è il film più complicato (ma l'ho dovuto, per forza di cose, vederlo a pezzi in più giorni - dura 7 e passa ore), secondo perché è quello più struggente e catastrofico. L'ho amato dall'inizio alla fine, fotogramma per fotogramma (anche se la scena con il gatto mi ha fatto male :( ).
Capolavoro, se ne potrebbe parlare per ore, ma tanto nessuno lo recupererà. Era giusto però avere un topic di questo film.
The opening shot of this 1994 Hungarian film - an unbroken black & white 8-minute take of cattle wandering through a farm, should act as a sufficient disclaimer for anyone who might be expecting some thrills and bellyaches for their buck. Sátántangó, Béla Tarr's magnum opus runs just a little over 7 hours and is said to contain something in the region of just 150 shots. The plot, which is slowly teased out over the course of the film's epic running time concerns a small community living on a rain-lashed isolated collectivised farm in rural Hungary. The drab lifestyle of the community is shattered with the death of a child, an event which heralds the arrival of a one-time member of…
I had very high expectations for this and yet it was still even more superb that I could possibly imagine.
When watching films, some become personal milestones; these are the ones which stick with you long after you see them, whose original viewing you'll never forget and make you see cinema in a new light. For me, films like 2001: A Space Odyssey, Grave of the Fireflies and The Tree of Life have become these milestones in my life. I finished watching Satantango just over an hour ago and it already feels like a significant milestone in my cinematic journey.
Satantango is a film about life through the bleakest of viewpoints. It's story about the return of a supposedly dead…
In a remote farming community that has collapsed economically, a group of villagers plan to try and get enough money to be able to leave but a return of one of their co-workers may disrupt those plans. Wow. What a masterpiece and I don't throw that word around lightly. This film may be very long, slow and a bit of a downer but, man, this is simply the work of a real master and must be seen by any student of film. In particular, the segment involving the little girl contains some of the most striking scenes I've ever seen and will probably stay with me forever. I've already experienced the cinema of Lav Diaz so the seven-hour running isn't…
Disc 1: 7/10
Disc 2: 9/10
Disc 3: 9/10
I think Satantango's weakness is its length if I am being honest. On the plus side you are able to explore much more of the world it takes place in and it feels truly atmospheric and intriguing. However with all this time spent on the bleak and droll setting wonderfully created there is little that truly grabs your attention and absorbs you into the film as with Tarr's other works - when it does happen, (the cat scene), you're hit with this pull but it becomes a slow fade out, returning to the ever rainy world in a come down and this repeated process lessens the impact of some of the…
Bela Tarr's Satantango is easily one of the greatest movies to come out of the nineties with bleak imagery shot in stark black and white, Satantango is an overwhelming barrage of allegorical substance enhanced by Bela Tarr's strangely effective style.
Tarr por vezes consegue mostrar a que veio, mas é um filme exagerado, que anda em círculos e repete exaustivamente que as pessoas são egoístas mas que raramente consegui atingir um campo emocional ou algo verdadeiramente profundo, mas a bela cinematográfia e a trilha sonora, alguns ótimos diálogos e Estike fazem o filme valer a pena.
The mount Everest of arthouse cinema. 7 hours long, but why? Bela Tarr's long, slow, meditative drama starts off hypnotising and engrossing despite its long takes, but things slow to a painful grind during the middle sections. In particular, the story of a disturbed girl abusing her cat and the villagers getting drunk and dancing are absolutely interminable.
Why does this film need to be 7 hours long? Some of the long walking scenes make sense, the slow trudge into oblivion fitting with the apocalyptic tone of the film. But why did the scene of villagers dancing need to be a ten minute long take? Why does the film open with ten minutes of cows walking? I'm willing to…
i don't want to see the world through Béla Tarr's eyes, but when i do, it feels so real and true to human nature. the suffering and convoluted persistent to breed violence and devastation never really ends. maybe deep down, there's an unlighted pessimism in all of us. Béla Tarr's films, to me, are harsh but authentic statements about homo sapiens. it scares me heavily when i often find myself completely agreeing with Bela Tarr's pessimistic worldview. in all fairness, it's because there's truth and reality to what he presents in his films. his portrayal on the very nature and destructive side behavior of human beings is uncompromisingly true. it would take a millennia of peace among humans to mend…
I want you all to vote on what you think are the greatest films of all time!
This is going…
Step One: Go to www.random.org.
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Step Three: GET WEIRD!