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.
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…
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…
This is one of those highly regarded films that I’ve always put off watching mainly because you have to really be in the mood for a seven and a half hour(!) depressing and glacially slow film. I’m still not sure I was in the right frame of mind because whilst I can appreciate the craft (the beautiful black and white photography, the haunting long takes and omniscient-like panning shots), and there are images and whole passages that linger in the memory, it is not a story that I really felt connected to.
Béla Tarr’s small scale epic is split into twelve chapters with each segment focusing on a new character’s point of view, often of the same events, in a…
Best film of the 90s, hell it might be the greatest film of all time. 7 hours was too short!
When people describe films as experiences, this will forever be the film I think of. While I saw the entire 7 hour long film of four days, it still was just amazingly impactful. Likely the truest film adaptation that will ever be encountered, this is a film where every scene is a long take. While it wasn't the most engaging film at times, I was able to finish it, and I can appreciate this film as an amazing work of cinema. While I don't recommend this film for everyone, if you truly want to understand cinema for all it is, this film is essential to building that understanding.
7.5 hrs., 37 shots; longest speech in film history
Would it even be fair to rank this among normal movie? I wouldn't know where to rank it within my top 100. Top 50, top 20, or even top 10? I'm not quite sure yet. Sátántangó is not only a movie, but an experience like no other. It's hefty 450 minute run time flows by like a breeze and never feels weighted. There is so much to talk about with this movie that if I was to go into detail i would exceed the sites word count, and to my knowledge it doesn't even have one. I was immersed in the story and the characters from the very 1st second all the way up to the 27,000th (yeah, googled that…
How do you quite explain the fact that (a) not much happens in this films (b) and yet some of what does happen is hard to follow and (c) the whole thing goes on for 7 hours and (d) yet somehow you want to go on watching. It looks like Tarkovsky and yet it feels like you are in a world created by Kafka, nothing will quite make sense and yet you are filled with ominous dread. The unbearable heaviness of being (I think someone else wrote that). It rains a lot, I mean an awful lot. A group of characters on what is left of a collective farm appear to be getting suckered by a former colleague who is…
Definitely fell into the long-for-length's-sake camp on this one. I generally really enjoy and seek out slow cinema, but there was something too real about a film this bleak and soul-crushing being so long. This is almost certainly the point, so perhaps I'll revisit the rating when I'm in more of a mood for endless, unrelenting nihilism.
You can't slash your wrists with your car keys.
I'm a big fan of Krzysztof Kieślowski, his films and me, just click. Nuri Bilge Ceylan, I recently checked out his latest of Winter's Tale, which was also an enjoyable experience of the slow burn kind. Jan Švankmajer was an option, I've been really wanting to see Alice for a little while now, but the attraction to see a 7 hour something film was too strong. Foolishly I planned it out to be watched during the peak of study season, which I really regret.
Stress and impatience probably isn't the correct mood to bring to something of this nature. In some ways, it's one of those defining works that are so daunting and…
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…