All the films from all the editions, including those subsequently removed, presently totalling 1177. 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…
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.
When people ask me why I love cinema so much, I spend a lot of time thinking about an answer. Usually I have nothing.
Now I can say one word: Satantango.
Satantango is why I love cinema.
Once caught in the paradigm of watching, rating, reviewing, talking about a film with friends, it becomes a rare occurence that within a films run-time you will forget about these supposed obligations, and become totally swept up in what's happening on screen. It's an even rarer feat for a seven hour long film like Satantango to manage this; from the moment it takes hold of you, it has you. It's one of the few experiences in cinema - and I've felt it…
I always used to think people who say they genuinely 'like' Satantango are just lying to catch a little shine, or because otherwise what was the point of sitting through those 450 slow minutes? Its difficult to just simply dislike or disregard a movie you have invested so much of your time in but as it turns out, Bela Tarr's mammoth Satantango really is pretty great. So great actually that it probably deserves an even higher rating than this but I did find it difficult to really connect with its story and find something to latch onto in the way some others have. I also feel it was a bit overextended in parts and in those moments I started to…
'What can you make in a small village?'
'You can make a masterpiece'
A 7 hour and 30 minutes of pure experience, which can make you feel that Cinema is life and it's worth living for.
Bela Tarr has made a art which is beyond imagination, it is like entering into his world and experiencing it frame by frame. Werckmeister Harmonies which I had a first hand experiencing to a world I have never entered before, and now this. I literally don't have words to describe it.
The camera, the feeling, the village, the people, the life and the experience within it. Bela Tarr has given us a gift. One of the story in this movie is of A Girl…
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…
I can't imagine watching this being a chore because the shots are all so incredibly engaging in their choreography and most importantly the framing. The camera often moves away from or doesn't fully show the person or people talking which lets the viewer know how important it is when we see someone's face in detail and the lens briefly feels less like an observer. That's not to say other shots are unimportant because not a second in this film is wasted and it wouldn't have the power that it does if it were a shorter film.
Sillleben mit Glockenschlag, Uhrenticken und Regen.
Das ist nicht einfach ein Film zum Anschauen. In dem lebt man für sieben Stunden.
(Mehr dazu im Leuchtturm.)
Bela Tarr faz do cinema um grande meio de mostrar suas metáforas.
O preconceito com esse filme é mais do que evidente, a sua duração é extremamente exagerada e o diretor "Bela Tarr" tem a fama de fazer um cinema lento e complexo.
O filme é excelente. Ele é sim, lento. Cheio de metáforas difíceis, com uma atmosfera melancólica que de princípio não segura o espectador; o testando para as próximas sequências que estão por vir.
É gratificante terminar "Satantango", que aqui no Brasil em seu lançamento foi dado o nome "O Tango de Satanás". Filme que assim como toda carreira de Bela Tarr, foi um grande fracasso comercial, até em seu país de origem Hungria. Mas as críticas glorificaram…
How good is Sátántangó if I can't remember a single scene from it?
We're given an event and its time, through this we make the connection between our lives and theirs, our world and theirs, to find beauty in the communion of man and animal, rain and wind. Where there's beauty, there's hope.
A quite mesmirising experience which doesn't feel half as long as it really is (despite very little actually happening). Difficult to describe but rewarding nonetheless.
Oof, that's a doozy.
I don't think anything can prepare even the hardest film fan for something like this. At seven hours, it's the longest feature film I've ever watched, and to take it all in one dose (with sanity breaks here and there) is mentally exhausting. This weight is exacerbated by the pace and style of the piece, which is prone to break off into massive, repetitive, percussive and meditative long takes. There are dozens of sequences in the film completely devoid of dialogue, where we merely watch and listen to the setting, or move from one location to another in real time. It moves so leisurely that it makes Andrei Tarkovsky look like he has ADHD.
Satantango is about a small…
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…