The new 25th anniversary 4K restoration of Sátántangó plays Nov. But at the same time, Béla Tarr’s compositions are almost never truly static, unfolding and progressing at an organic pace and often ending in a very differ ent physical and emotional space from where they began. Sátántangó is comprised mostly of long, pensive, meditative tracking shots which often last for several minutes each, drinking in every sensory detail of the mise-en-scène. The genre and movement with which Béla Tarr is associated is often described as “slow cinema.” This is not inaccurate, but could perhaps be misleading. In Sátántangó, the blank, rain-swept landscape reflects and is reflected in the world-weary inner landscapes of its inhabitants. Béla Tarr finds grave and wondrous significance in the mundane, using a stark, piercing and lustrous style of black and white imagery which focuses in on the textures of everyday objects – torrential rain thru a gauzy window curtain, the corduroy jacket of a stumbled-over drunk – to the point of dreamlike abstraction. A sprawling seven-hour narrative portraying events which transpire over a single winter at a single farm in Warsaw Pact Hungary, Béla Tarr’s Sátántangó is truly an epic of the microcosmic.
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