An interesting movie in the evolution of Tarr movies. This unreal lighting, the use of great triadic colors and mise en scène are great reasons to watch it. Tarr abandons the feel like documentary-style of Family Nest and Prefab People, but themes of family and conjugal couple remain the same.
En un hogar literalmente en ruinas, viven dos mujeres y tres hombres, y entre ellos sucederá una serie de conflictos que irán en in crescendo. El amor y el odio generarán esperanzas y decepciones, mutuas comprensiones y tensiones. "Almanaque de otoño" reflexiona sobre la madurez, el amor y sus opuestos, esto a través de un idioma universal, pero también existencial. Hay un sentimiento de la tragedia que es cíclico.
A powerful chamber-drama concerning an elderly woman sharing her apartment with 4 horrible people (her son, his former teacher, her nurse and boyfriend) ultimately fighting for her money. The scene (it's like it is embraced by the camera, which while is deploying vivid filtered lighting pattens looks at the characters from every angle) conveys a sense of intimacy but also of failure and despair. A remarkable work
What a wonderful world it isn't, here as elsewhere for Tarr. Still, this film plays differently, being as richly colorful as it is emotionally claustrophobic. Essentially a chamber piece -- all of the action takes place in the same apartment, with the only hint of an exit being provided by the professor as he's dragged away by police -- Almanac breathes an air of Strindbergian despair. The devil is comfortable there.
Agree with below poster that this one reminds of Fassbinder more than his other work. Amazing use of color and I loved the "from the floor up" scene (anyone whose seen it knows what I'm talking about). In a way, I think this film was darker than some of his later work but that may be completely personal as how it struck me and the mood I was in.
More reminiscent of Fassbinder than any other work of Tarr's that I have seen. Beautiful artificial lighting illuminates the often jarring mise en scène (against the actors and camerawork). There is some terrific dialogue here - an element of Film that I usually despise - and also some beautiful and inventive compositions. Just misses out on 5 stars.
Seems as though most of Tarr's more interesting works (though all that I've seen have a good level of interest) focus on the notion of dead people trying to come alive, and this is one of his most striking examples of that such idea. A truly beautiful and yet utterly painful, enigmatic, stylized film. Savvy
This film made me wonder why Tarr decided to work in B/W for the rest of his career, the style here is amazing, if there was one thing to frown on his previous works was the lack of polish in terms of visuals, and here not only he seems to take care of that but shows a genuine skill as well.