“If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.”
— John Cage
Sátántangó’s first few minutes provide an unsubtle hint that we’re in for a slow and gloomy slog, though you would expect that from any film by Béla Tarr. The Hungarian master, currently retired (he insists), is an international star who never set out to make a crowd-pleaser, even if his primary characters are pleasure-seeking proles at large in the swampy ruins of the post-Communist Eastern European Bloc.
Sátántangó commences with a wide, stagnant shot over a muddy paddock, a congregation of cows rooted in puddles in the near distance. The cows are themselves pretty interesting to observe, especially as one or two appear aware of the camera. They saunter toward the edges of the frame, and the camera bestirs itself,...
— John Cage
Sátántangó’s first few minutes provide an unsubtle hint that we’re in for a slow and gloomy slog, though you would expect that from any film by Béla Tarr. The Hungarian master, currently retired (he insists), is an international star who never set out to make a crowd-pleaser, even if his primary characters are pleasure-seeking proles at large in the swampy ruins of the post-Communist Eastern European Bloc.
Sátántangó commences with a wide, stagnant shot over a muddy paddock, a congregation of cows rooted in puddles in the near distance. The cows are themselves pretty interesting to observe, especially as one or two appear aware of the camera. They saunter toward the edges of the frame, and the camera bestirs itself,...
- 2/8/2024
- by Jessica Almereyda
- The Film Stage
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