Film breathes with noir atmosphere and there is a lot of great shots, slow action this time put down whole positive impression.

I had goosebumps while watching. The cold, foggy atmosphere is significant, it just fits well. The story reminds me of Kafka.

great photograph(s)(y)

I think the travellings are great, and it shows good techniques, but... directed to what? I don't think that brilliant knowledge of the technique has any intention, not narrative, not emotional, ... nothing. And those long shots to a face that doesn't show any change and looks just like a photo, or a character doing a meaningless and repetitive act (example, the daughter eating). The technique is good, the idea is good, but the mix of both, the development of the idea, doesn't work for me.

Much as I adore Tarr's work - and The Man from London is, in many ways, every bit as atmospheric, foreboding, and beautiful as I've come to expect from him - I had a much harder time becoming invested in his world and characters here as compared to his other films. It was, frankly, a bit of a slog - and I sat through Satantango's 7.5 hours with nary a complaint. Haunting at times, but boring at others - this certainly won't win over any of Bela's detractors.

Tarr makes Tarkovsky look like Tarantino. This is particularly relevant when the film in hand is what seems to be some sort of a thriller. Surprisingly enough Tarr manages to keep things moving and interesting, even though unlike 'Werckemister Harmonies' in this film the camera focuses more on exploring the settings from every angle than the characters themselves. By the end of course nothing is answered, sealing the atmosphere of a surreal dream. A great film, though of course not for everyone.

Tarr takes a step back and tackles something smaller than his previous efforts. His distinctive style is less suited for such a small, personal issue like guilt and so it lacks a certain hypnotic strength, but it has its moments and there is still much to be found in the small details. The cinematography is as amazing as ever.

Okay, it doesn't have the epic grandiosity of Satantango or the tantalizing strangeness of Werckmeister, but it's at least as good as Damnation, if not better. The locations seem to be straight out of Dostoyevsky, the score is as haunting as always, and the black & white cinematography is as incredibly stunning. Tarr is an expert at creating this atmosphere of sorrow and dread and uneasiness, a world where everything feels slightly off-kilter, even in the most mundane moments.

The pacing is stuck in the mud once again with Bela Tarr. With his films, their glacier-like speed usually benefits the mood and story, but here it stretches some scenes to breaking (boredom) point. The musical score by Mihaly Vig is, as always from him, superbly haunting and dreamlike, but re-used too much (a big pet peeve for me).

The aesthetic pleasures of watching this film more than make up for the very boring experience most of the time.

"Tarr seems to be working in a pan-European purgatory through which his elaborate camera movements are more clinical than communitarian." - Kevin B. Lee

Its inferior within Tarr's post-Damnation work, even to Damnation, but its still a momentous work compare to many other films. At this point in his and his co-director's career, as I wait for The Turin Horse to get a UK release, the use of everything from the lighting to the camera movements is at its best, matched by reoccurring themes of morality which are extremely powerful by the final scene. Even the dubbing adds to the almost alien world of a Tarr film which yet feels close to reality.

Sometimes, it feels like it fails in every way Werckmeister succeeds; there are definitely times where it's extremely impersonal. The description of an "anti-thriller" is incredibly apt. However, Tarr's amazing cinematography and the haunting score won me over, even if I'm still not sure what happened. One more thing, though: how difficult is it to make a decent dub? I mean christ, even THE ROOM had better dubbing. Sometimes the mouth movements don't fit at all. It took me out of the film a lot.