Satantango

I saw this film at a Bela Taar festival and I remember it having 3 or 4 breaks because it was so long. But it was worth it. I am constantly remembering the images from this piece, I don´t even remember the exact story, but the images, the sequences, were just lovely. If you ever have a chance to see this film projected, take it. Don´t worry if you can´t sit through the whole thing, just see some of it, you won´t forget it. Marvelous long takes, wonderful characters. That first scene with the tracking shot of the cows and the two guys walking down the street with the garbage blowing in the wind around them. Wonderful black and white film. I advise all cat lovers to stay away. Bela Taar is one of the best.

This is one of the greatest movies I've seen, as the film is not boring and tiring during more than seven hours. The beautiful long shots about this deserted country-side and it's people are so rich, that they crucially contribute to the understanding of the story. When we see somebody walking for ten minutes in the forest we have the possibility to know all his/her life. In order to understand the plot it's not enough to listen to dialogues and pay attention to the classical narrative elements. You have to contemplate and study every image, the gestures, the cloth, the environment. The long shots allow also us also to include in the film's perception our own experiences of the world. We understand the events based on our own experiences: we have the time to remember what is it like walking in mud, touching a cat, etc. If you let yourself taught by director Béla Tarr, your perception will change in 1 or 2 hours, and you will be able to feel and understand images much more deeper than before. Don't miss it!

This is my favorite film of all time and its such a pity that it gets screened so rarely, but who can blame the cinemas as not too many people are prepared to take Tarr's advice and call in sick in order to spend eight hours at the movies instead of going to work. Also, I reckon this is one of the very few films you actually have to see on a big screen, so even if it was available on DVD, it wouldn't do much good. I've seen it three times so far and I got blown away every single time. So I really urge you to give it a go if this epic masterpiece comes anywhere near you. First time I saw it was on the Berlin Film Festival in 94 and I have to admit I wasn't really prepared to sit through the whole thing, but after three hours I was completely hooked and when the credits finally rolled in, I was rather sad that it was over. I would have liked to spend another few hours in this strange and compelling world. OK, the plot in itself is kinda depressing and bearing in mind that it runs for so many hours, not that much happens, but to complain about the absence of jolly dialog and action packed stunts would be completely beside the point. You just have to be willing to go along with Tarr's approach and once you accept that storytelling here is a bit different to what you are used to, the whole thing it is more exciting, entertaining and gripping than everything you've ever seen. Tarr's main achievement in my view is that he creates a completely new form of imagery and its so utterly convincing that I still wonder why it never caught on big time. Instead of editing the takes into a scene during post production, he shots almost everything in one go with the help of a steady cam. As the takes are as long as 7 minutes (just a spirited guess, I never timed them) and involve occasionally more than 9 actors its just utterly amazing how Tarr choreographs actors and camera in a way that it seems perfectly natural and you get to see exactly what you need to see. Well its pretty hard to explain if you haven't seen it as it really is so different from everything else. What can I tell you? Every single frame is aesthetically a revelation, thus making this an utter delight from start to finish. I could harp on endlessly about why I love this film so much. About the absolutely convincing atmosphere, the great acting, the inventive use of lighting, how the story unfolds, the subtle use of humor, but as it is with all great love affairs, words fail to even hint at the magnificence of Sátántangó. Go, see and believe.

My name is George Zoes and I am the assistant director of Theo Angelopoulos, the famous director from Greece. I just finished watching the movie and I am in state of cinematic nirvana. I only thought Theo Angelopoulos had the secans shots but I was mistaken.

Bela Tar knows what he is doing. For the people who are addicted to post modern cinema this movie would be a nervous breakdown. But for the people who love the power of images, who keep their minds open, who investigate the same art of cinema, its a miracle this film exists.

The time games that Bela Tar plays with the shots from a different angle are unique and the atmosphere that he creates conviced me that this is a parrarel universe rather than a cinema story. Its a purgative cinema that personally gave me trust to make my own feature film. The visual story seems greater than the written one but its not. I have the feeling that this form is the most suitable for this content. Its like the flesh and the blood, you cant distinguish them.

Thank you Bela Tar and to your screenwriter.

I am ready to leave Theo to work with you.

Satantango (1994) ****

Satantango, Bela Tarr's 1994 7.5 hour masterpiece is incredible first and foremost in that despite its length and multiple shots of literally nothing taking place it is never, I repeat, never boring. This is one of the most incredible films I have ever seen. Complied of only 150 shots, many of which last for over 10 minutes, Tarr and his cinematographer manage to create a hypnotic and beautiful depiction of a desolated communal farm in post-communism Hungary. The scenery is at once withered and ugly, yet compellingly beautiful. The land is muddy and the buildings are in shambles. There are two scenes where main characters walk with the camera following as multitudes of trash blow along with them in the wind, creating a somehow hypnotic effect.

The film opens with literally a 10 minute shot following a herd of cows wandering through a seemingly rundown farm town. The camera makes what has to be one of the most incredible pans in cinematic history panning to the left for most of the ten minute scene. Who else but Bela Tarr would try such a thing; and who else but Bela Tarr could make it work so well.

The film follows the people of the farm in essentially three sections. The first section begins by showing Futaki having an affair with Schmidt's wife. Schmidt we find out is planning to run away with the money the town has made over the past year but comes home and is confronted by Futaki who has suck out only to come right back and knock on the door. They hear that the smooth talking Irimias and his sidekick Patrina, who have been believed dead by the town, are on their way back to town. The other residents, who all plan to take their money and leave town, seem to be under the thumb of Irimias and after hearing of his return meet at the local pub and discuss what to do and wait nervously for Irimias's arrival.

The scenes are broken down into 12 steps, such as in a Tango. Nearly all of which are connected in that we see what has already happened from another perspective. The first section as noted involves Schmidt and Futaki; the second and one of the most hypnotic in the film is of an overweight and frail doctor who sits in front of his window documenting the actions of the townspeople. He details how Futaki is slipping out of Schmidt's house, and then goes back in, a scene which we've already seen except this time it's from the window of the doctor's house. The doctor hulks around and then realizes he must leave his home to get more alcohol. Scenes go on like this weaving in out and out the story line from different points of view. The first third of the film deals with the realization of Irimias' return, and exposes the corruption of the citizen's capitalism by their greed. The second third is the post powerful. It documents a little girl who is conned by her brother and ignored by her mother. The only thing she has power over is her cat, and in order to feel that superiority she tortures and poisons the cat. I will not reveal how, but this section turns to tragedy which will be exploited by the smooth talking Irimias.

The final third deals with the corruption of Irimias's communist plan for the farm. He convinces them to give him the power and all the money that has been saved up only to con them. This section is brooding with satire, as is the first in some ways, and has shades of Orwell's animal farm – the dumb and obedient townspeople conned into subjugation by the charming Irimias.

Essentially, Satantango is a 2 hour movie shown without its cuts bringing it to 7.5 hours. The film never uses its drawn out scenes to further the narrative, but neither does it use them for simply aesthetic purposes either. The film's length and incredibly long shots seem to be rubbing the atmosphere right in our nose. Many shots have the camera move, raising and weaving and circling defining space like no other film. Some of the extended scenes are incredibly funny in bizarre ways, such as an extended dance seen (from which the film gets its title) where the villagers get drunk waiting for Irimias and Patrina, dancing to accordion music while the little girl peers in through the window; and another scene that circles the room while two officers dictate and type out Irimias's statement, cleverly changing vulgar statements (which I found hilarious) and in the middle of it all, sitting down and having a snack in real time! These scenes sound perhaps boring, but somehow Tarr makes them seem riveting and when they end it's almost sad to see it. Another incredible extended sequence sees the camera facing down at the sleeping villagers circling them ever so slowing as a narrator describes their dreams.

Satantango is a film like no other. Its scope is breathtaking and its style is beautifully crafted. Tarr's films are almost like ballets: the camera moves always gracefully and in ways that we would only imagine that a cut was necessary, never faltering and always creating incredibly beautiful dances, and they set a mood perhaps better than anyone else. Satantango is Tarr's masterwork, epic in every sense of the word. If you get the chance to see this one, do yourself a favor and experience all 7 and a half hours of its majestic and drab atmosphere. Satantango is film for the sake of film and art for the sake of art.

4/4