Kárhozat is a masterpiece in every way, the cinematography inspired by Tarkovsky's films and an atmosphere that lacks nothing else, it's perfect! But I just didn't manage to connect with this one as much as I did with Werckmeister Harmonies. I say a 94 is still a very good rating! It's the same one I gave to Tarkovsky's The Sacrifice for similar reasons (I did connect with that one but I feel I didn't understand everything presented). It's also the first collaboration with writer Lázló Krasznahorkai (with whom they would soon make many films including Sátántangó). Speaking of collaborations I think Mihály Víg and Béla Tarr is like Ennio Morricone and Sergio Leone or Hitchcock and Hermann. Among the perfect duos of filmmakers and composers.
Mihály Víg surprised me again with a musical composition that touches my soul and elevate this film to places you couldn’t imagine!

Thank you for reading and God bless you.

P.S. Since Tarr is heavily inspired by Italian Neorealism, I think it's time to give his movement a name: Tarrian Neorealism

94/100

Kárhozat is a masterpiece in every way, the cinematography inspired by Tarkovsky's films and an atmosphere that lacks nothing else, it's perfect! But I just didn't manage to connect with this one as much as I did with Werckmeister Harmonies. I say a 94 is still a very good rating! It's the same one I gave to Tarkovsky's The Sacrifice for similar reasons (I did connect with that one but I feel I didn't understand everything presented). It's also the first collaboration with writer Lázló Krasznahorkai (with whom they would soon make many films including Sátántangó). Speaking of collaborations I think Mihály Víg and Béla Tarr is like Ennio Morricone and Sergio Leone or Hitchcock and Hermann. Among the perfect duos of filmmakers and composers.
Mihály Víg surprised me again with a musical composition that touches my soul and elevate this film to places you couldn’t imagine!

Thank you for reading and God bless you.

P.S. Since Tarr is heavily inspired by Italian Neorealism, I think it's time to give his movement a name: Tarrian Neorealism

94/100

A man angers for the endurance of his wife, But he just couldn't understand why he even sits down for a second, He glares at the sky. It's just work as usual.

How would it feel to lose the soul of comfort in everything you have, or even had at the first place when it's all going away little by little either way, The sight of the slimmest grin, the consistent swings of jazz parties, the assurance of a new day. and the numb only getting number.

Oh to work, To open wide at all.

I can just wait.

A man angers for the endurance of his wife, But he just couldn't understand why he even sits down for a second, He glares at the sky. It's just work as usual.

How would it feel to lose the soul of comfort in everything you have, or even had at the first place when it's all going away little by little either way, The sight of the slimmest grin, the consistent swings of jazz parties, the assurance of a new day. and the numb only getting number.

Oh to work, To open wide at all.

I can just wait.

Finalmente è successo
L'Ungheria non ha soddisfatto le mie aspettative

Finalmente è successo
L'Ungheria non ha soddisfatto le mie aspettative

This was pretty boring.

I only watched it because I wanted to see this debut film before I watch The Werckmeister Harmonies. I hope that one is better. I appreciate slow cinema and long takes, but I just couldn’t stand this one. The first shot of the film lasts about five minutes, and that set the tone for me. It felt very minimal and slow, but it didn’t build into anything that kept me engaged. Maybe I will appreciate it more on a rewatch since I wasn’t in the right mood while watching. Honestly, that’s probably my fault.

I can still see what Tarr was aiming for. He lets scenes linger for a long time. The static camera and the lack of movement force you to sit with the space and the characters. There’s a patience to it that I usually respect, even if I didn’t fully connect this time. The long takes seem more about observing time passing than moving the plot forward, which I guess is part of his style.

The last scene was cool, though.

This was pretty boring.

I only watched it because I wanted to see this debut film before I watch The Werckmeister Harmonies. I hope that one is better. I appreciate slow cinema and long takes, but I just couldn’t stand this one. The first shot of the film lasts about five minutes, and that set the tone for me. It felt very minimal and slow, but it didn’t build into anything that kept me engaged. Maybe I will appreciate it more on a rewatch since I wasn’t in the right mood while watching. Honestly, that’s probably my fault.

I can still see what Tarr was aiming for. He lets scenes linger for a long time. The static camera and the lack of movement force you to sit with the space and the characters. There’s a patience to it that I usually respect, even if I didn’t fully connect this time. The long takes seem more about observing time passing than moving the plot forward, which I guess is part of his style.

The last scene was cool, though.