In this film is the entire career of fellow Hungarian Béla Tarr—the stunning choreography of the shots, which often last upward of five minutes; the focus on isolated, rural communities and their (often failed) social upheavals, and backhand commentary on the communist spectre under which both directors worked. However, where Tarr's works are cold and alien, this film is natural, warm and inviting. I consider Tarr the better director, but it's a pleasure to find such a stunning film among his influences.

Since first seeing this film, I've made a point of working through the rest of Béla Tarr's (now supposedly forever complete) filmography and reading the just-translated Krasznahorkai novel. After the second viewing, I'm convinced that this is Tarr's best work and one of the finest filmmaking efforts I've ever seen. Though it's extremely faithful to the novel in plot and structure, neither feels redundant of the other. I highly recommend seeking out both, in either order.

Enjoyed this much more than last time after listening to some interviews with Anderson and consuming some alcohol. Best taken as a child's fable, in the same vein as Fantastic Mr. Fox. I honestly hope Anderson sticks to this kind of film if it prevents something like Darjeeling from ever happening again.