Béla Tarr
The panorama of human affairs encounters the “man with a movie camera”. His playground has no boundaries, his curiosity no limits. Characters, situations and places pitch camp in the life of a humanity that is at once the viewer and the thing viewed. But what are the last days of this humanity? Have they already passed? Are they now or still to come?
On her regular day at work, Paola starts to feel that she is missing out something exciting.
Presents moving images of society’s outsiders, the impoverished and oppressed, whose lives are contrasted with the opulent surroundings of contemporary Vienna.
A filthy Con-Man stumbles into an old Balkan village where he tries to win the people by calling himself a doctor.
A short film Hu Bo made during the FIRST training camp. Apocalypse. Two starving kids find a dead body in the ruins…
An abandoned tumbledown theater in the outback of Paraíba state is the initial setting of a film about cinema, which explores the testimonials of the novelist and playwright Ariano Suassuna and other filmmakers such as Ruy Guerra, Julio Bressane, Ken Loach, Andrzej Wajda, Karim Ainouz, José Padilha, Hector Babenco, Vilmos Zsigmond, Béla Tarr, Gus Van Sant and Jia Zhangke. They all respond to two basic questions: why do they make movies and why do they serve the seventh art. The filmmakers share their thoughts about time, narrative, rhythm, light, movement, the meaning of tragedy, the audience‘s desires and the boundaries with other forms of art.
A documentary about the making of The Turin Horse, the last film directed by Hungarian master Béla Tarr.
The experiment presents a cinematic poem to filmmaking and film itself. Directed by eleven filmmakers, all under the vision of Bela Tarr's 'film.factory', delving into what keeps us making films.
A film where anything can happen - the hero and the heroine changes their faces, age, look, names, and so on. The only same thing: The love between man and woman... in an archetypical love story cut from 500 classics from all around the world.
Anthology film made as an act of protest against Hungarian government of Viktor Orban.
A monumental windstorm and an abused horse's refusal to work or eat signal the beginning of the end for a poor farmer and his daughter.
Hungarian filmmaker Béla Tarr and film critic Howard Feinstein discuss his innovative filmography, punctuated by clips from his films.
A switchman at a seaside railway witnesses a murder but does not report it after he finds a suitcase full of money at the scene of the crime.
Johanna, a young drug addict, falls into a deep coma after an accident. Doctors miraculously manage to save her from death's doorstep. Touched by grace, Johanna cures patients by offering her body. The head doctor is frustrated by her continued rejection of him and allies himself with the outraged hospital authorities. They wage war against her but the grateful patients join forces to protect her. This is a filmic and musical interpretation of the Passion of Joan of Arc.
Twenty-five films from twenty-five European countries by twenty-five European directors.
This story takes place in a small town on the Hungarian Plain. In a provincial town, which is surrounded with nothing else but frost. It is bitterly cold weather — without snow. Even in this bewildered cold hundreds of people are standing around the circus tent, which is put up in the main square, to see — as the outcome of their wait — the chief attraction, the stuffed carcass of a real whale. The people are coming from everywhere. From the neighboring settlings, even from quite far away parts of the country. They are following this clumsy monster as a dumb, faceless, rag-wearing crowd. This strange state of affairs — the appearance of the foreigners, the extreme frost — disturbs the order of the small town. Ambitious personages of the story feel they can take advantage of this situation. The tension growing to the unbearable is brought to explosion by the figure of the Prince, who is pretending facelessness. Even his mere appearance is enough to break loose destructive emotions...
György Fehèr’s aim was to “make a film which is similar to the last salvaged print of a long lost film”. The passions he investigates are centred around primeval fears and cravings and a sense of inescapable doom. Shot in powerful black and white with excellent central performances.
Revisits of locations on the Great Hungarian Plain - the puszta - that were used in Tarr's Sátántangó and Werckmeister harmóniák. Recitations of short lyric poems by Hungary's national poet Sándor Petofi.
Inhabitants of a small village in Hungary deal with the effects of the fall of Communism. The town's source of revenue, a factory, has closed, and the locals, who include a doctor and three couples, await a cash payment offered in the wake of the shuttering. Irimias, a villager thought to be dead, returns and, unbeknownst to the locals, is a police informant. In a scheme, he persuades the villagers to form a commune with him.
Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away...
Zoltai is a Hungarian professor who returns home after a visit to the United States. Following a television interview, he commits suicide and leaves a note for his longtime friend Dr. Bardocz. The doctor and Zoltai's colleague Komindi join the police in investigating what drove the man to suicide.
In this dense setting, the inhabitants of a large, claustrophobic apartment reveal their darkest secrets, fears, obsessions and hostilities.
Using verite conventions, a young couple with a baby and a child are worn away by the monotony of their lives.
A talented but irresponsible violinist ruins his marriage with his drinking and antisocial behaviour.
Documentary about a hostel for workers. An old worker suspected of stealing a motor gets fired from the factory and must leave the hostel.
Családi tüzfészek (aka Family Nest) is an intimate portrayal of a family slowly disintegrating under various pressures in late 1970s communist Hungary. The plot of the film is deceptively simple, with the occasional momentous event--including one that's relatively shocking, but plot in a conventional sense is not the focus here.
An avant-garde acclaimed, absurdist, surrealist, allegorical sci-fi short film directed by god. The film chronicles the slow descent of the human race through a metaphor of fried chicken
