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THE MAN FROM LONDON

Béla Tarr, Ágnes Hranitzky Hungary, 2007
It may be a lesser work from Béla Tarr, but masterful direction and austere cinematography, not to mention Zeitgeist’s top-notch transfer, make it an indelible, if occasionally exhausting, experience.
January 13, 2012
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The Man from London, Tarr's latest film, is some way below his best, yet it stands among the week's conventional releases like a baleful dark meteorite among a collection of shiny marbles.
December 14, 2008
Stretches of The Man from London may hint that Tarr is caught in a similar creative impasse (the film is closer to the territory of Damnation than its immediate predecessors), but the peculiar pleasures of his cinema are still to the fore.
December 1, 2008
His choice of material may be disappointing, but Tarr’s still brought the full force of his cinema to bear in translating it to the screen.
September 16, 2008
It's a film about looking and listening, with a suggestive minimalist soundtrack and ravishing black-and-white cinematography by German filmmaker Fred Kelemen. Tarr's slow-as-molasses camera movements and endlessly protracted takes generate a trancelike sense of wonder, giving us time to think and always implying far more than they show.
October 4, 2007
Each sequence in The Man From London is a single tracking shot that moves effortlessly between the many touchstones (close-up, subjective POV, long shot) of film grammar.
September 7, 2007