Twilight provokes adjectives: murky, muddy, foggy, rainy, grainy. If someone wanted to know what an art film looked like, this is almost the perfect example. It's definitely not easy to decipher on first look. There are the long takes and the black and white photography. It doesn't so much end as it trails off. The music is the perfect accompaniment with its chorus of souls and deep submarine sounds.
One of the great unknown masterpieces, and I can't but help wonder if this influenced Tarr too; or the reverse that Feher was influenced by Tarr. Tarr's form came to light in Damnation (1988),and I know he had some input on this one. Anyway, feels like a bad dream, and much like some black metal, I think the lo-fi feel of the VHS transfers adds atmosphere and something to the film. Probably better than Man from Londo
This film is like watching a nightmare unfold. Not just because of the black-and-white cinematography, but its also the claustrophobic fog in the background. It feels like a world where our main protagonist wants to escape from, but simply can not. He is trapped in his own obsessions. In ways, you could say that the child killer is like the Grim Reaper, that follows the obsessed police man and haunts him.
Dropping conventional narrative hooks and dialogue for atmosphere and mood, the criminally unknown and underrated György Fehér creates an ominous and beautiful piece of cinema, which resembles the visual language of Béla Tarr's films, with some added gothic overtones. Hopefully in years to come Fehérs work will be noted and appreciated to the extent that it truly deserves. A moody masterpiece.
A tense Tarr-esque film. Beautifully shot, well narrated, and the suspense is formidably maintained right up to the end. I am not surprised that Feher was involved in the production of Tarr's Sátántángo. You can clearly see his contributions on set. Several stylistic elements from Twilight were later applied to Tarr's seven-hour piece. I would have loved to see this one on a big screen, though.