An incredibly immense, towering work of art like almost nothing else. Such craft and skill is on display here, presenting a tragic yet often dryly humorous tale. The length of it gives Tarr's style room to stretch its legs, immersing you with its slow long takes and hypnotic repetition. So much to digest and take in that it's overwhelming the first time through, but it's so captivating that by the end you just want to keep on watching it. Suburb.

The frustrating thing about this film is that, after freeing up most of a full day to watch it, I immediately felt it needed a second viewing.

The film is beautiful, hypnotic, for every minute of its runtime it is never less that fascinating, captivating and fiercely enigmatic. It is a film you experience and that I left a seven hour long film extremely keen to see it again says a lot about quite how mesmerising the experience is. The expression of powerlessness is heartbreaking, in particular the storyline following the young girl, whereas Irimias is rendered as someone almost demonic toying with them more for fun than money.

At an impressive 7+ hour running time, Satantango is certainly an experience as well as a film. You become completely immersed in Tarr's fictional word as it takes on an almost hypnotic quality. The 9 minute long-takes seem to be only momentary as you witness them, with the gorgeous camerawork occasionally moving at a concentrated and methodical pace. A brilliant piece of art that I was tempted to watch again immediately afterwords.

One of the boldest things ever committed to film and one of the finest films I've ever seen. It's a movie that plays by its own rules, and in doing so enlightens its audience about what films are actually meant to do. Here Tarr doesn't show us "events", but rather lives, moods, and feelings, all of which are presented with a great attention to textural detail, and the most masterful camera work I've ever seen. Seeing this was one of the most fascinating movie-watching experiences of my life.

I love films with numerous long takes. I think I hit the jackpot.

Filmin ortasindaki kucuk kizli segment sinema tarihinin en guzel bolumlerinden biri. Filmin uzunlugu seyircinin biyolojik ritmini degistiriyor. Ama bu uzunluk tam neler katiyor anlayabilmis degilim. Ikinci bolum tamamen bir geriye donus - sanki yok gibi. Garip, guzel bi film.

Perhaps an expression of vacuity within the soul; the desolate landscapes and destitute characters coalesce into a journey of exploration for...something. Or not. Tough movie. I didn't even start getting involved and loving certain things about the film until around the third hour, when for some reason the poetic narration started to ring truer, and the sad void of a tone began to feel more at home. Some scenes feel somewhat superfluous, while others are downright brilliant beyond explanation.

#248

Amazing use of the camera and there's so much rich texture and detail packed into this film! Quite a sight.

343

Texture is right. Every shot is so intriguing, and you have more than enough time to appreciate it. My only complaint is it did drag at a few points but for over 7 hours long, it can be expected. Fortunately its Tarr so even when it is slow, there is much to enjoy.

# 303

One word to describe this would be "texture". His ultra-long takes give you ample opportunity to drink in the details, and you find your eyes wandering all over the frame. Other times the camera gracefully glides around the action, pointing out hidden secrets in darkened areas. You become part of Tarr's world, and a rich, deeply felt world it is. There's an endless ocean of feeling and thought and morality here. The film is also intriguingly structured, and funny and tragic and fascinating.

Amazing use of the camera and of spacing. The significance of each cut is highlighted in this film because there are so few of them. And the way Tarr's camera allows us into the world of these people seems to both repel and bring some strange sense of empathy.

An overwhelmingly depressing film, partly due to its subject matter, partly due to its direction, and partly due to its length. I curled up and wanted to die at the end of it.

A frustrating viewing experience. I would put Tarr's cinematography skills in the top like 2 of anyone I've ever seen - every shot was gorgeous - and there were some brilliant sections, chapters 5 and 12 being my favourite. But overall I wasn't captivated by it, it DID feel its length, and I wasn't invested in many of the characters at all. Don't even try and ask me what happened after they got to the manor place. I admire it, and I'm glad I watched it, but I'm not sure I ever will again.

I do not remember images from this film. I remember takes. I remember moments extended into minutes. And I remember the little girl.

The first half hour is a bit of a slog, but I think it's necessary to make the following 6 and a half hours not feel that way. By making use of such long lingering shots Tarr sets up the audience to watch everything at a slowed down pace where you can take in the visuals and actions in each scene and process them thoroughly. Watching it actually takes less effort as it progresses, with the mysteries of it's characters being more than engaging enough. That it's beautiful and meaningful is a given

"Life is what happens while you're busy making other plans." I can't think of a film that exemplifies this more than Sátántangó, which consists so thoroughly of transitory moments. The heaviness of day-to-day existence in this dilapidated village becomes the driving force, the characters' desires for greener pastures weighed down by their pettiness and naďveté. Tarr's absurdist view of humanity is quite bleak but never feels excessively misanthropic. Hilarious, heartrending and utterly singular.

There are only a few movies I've seen that have given me something close to a transcendental experience; that sounds really pretentious but what I mean is foregoing any sense of time and place and becoming totally enveloped in the characters' world. Because of its glacial pace, attention to detail and emphasis on capturing moments in time as well as circling around events from the perspectives of other characters, you experience their world from every angle. It's really worth watching.

I can appreciate this on some level but it's so far away from anything I could enjoy, especially for 7 and a half hours.

245

More "damp" than overly depressing (it's pretty funny at times), this is a richly detailed world and characterization isn't always easy to pick up on but it's there amongst the long, atmospheric shots. Though it didn't get to me as much as Werckmeister Harmonies, it's still an emotional film with a bunch of memorable scenes. I especially loved the doctor. This is a fantastic film but on occasion I couldn't get as into what was happening as I had hoped.

I can't believe this came out in 94', it's not only a time capsule of post-communist Hungary, but also of a time where films of this magnitude, strength and quality were made. Tarr creates a mood, an environment we inhabit, we pay attention to the enticing imagery and sounds (footsteps, rain, wind). Every shot in this film is a work of art. "Sátántangó" is a masterpiece in every sense of the word, essential viewing for any filmlover. Highly recommended !!!