A 5 minute dolly shot of people waiting in line for food filmed in beautiful black in white accompanied by music by Mihály Vig. This short was Béla Tarr’s contribution to the Visions of Europe project.
Born in 1955, Hungarian filmmaker Bela Tarr began making amateur films at the age of 16, later working as caretaker at a national House for Culture and Recreation. His amateur work brought him to the attention of the Bela Balazs Studios (named in honor of the Hungarian cinema theorist), which helped fund Tarr’s 1979 feature debut Family Nest, a work of socialist realism clearly influenced by the work of John Cassavettes. The 1981 piece The Outsider and the following year’s The Prefab People continued in much the same vein, but with a 1982 television adaptation of Macbeth, his work began to change dramatically; comprised of only two shots, the first shot (before the main title) was five minutes long, with the second 67 minutes in length. Not only did Tarr’s visual sensibility move from raw close-ups to more abstract mediums and long shots, but also his philosophical sensibility shifted from grim realism to a more metaphysical outlook similar to that of Andrei Tarkovsky. After 1984’s… read more
Ágnes Hranitzky, Béla Tarr’’s collaborator, editor, co-director and wife.
We all know how it's going to end, yet we keep watching it. We let it go, we let it slide, right until the end. Even if the end is right on the beginning.
Faces of truth, faces of guilt, faces of weak, faces of thinking, the faces of being human. It captures the essence of "being just being" with subtlety and astounding compositions. A metaphor for the working class and am analytical study of what people are thinking and what challenges they have to face. We cannot truly identify it, but in our subjective thoughts anything can happen, so we give our own impression.