Suchergebnisse
Suchergebnisse:
R. Cavallini. Art. 2015. In his trilogy, comprising La Libertad (2001), Los Muertos (2004) and Liverpool (2008), Argentinean director Lisandro Alonso employs a distinctive narrative motif, namely the journey of the solitary…. Expand. Semantic Scholar extracted view of "Bela Tarr, the Time After" by Jacques Rancière et al.
22. Juni 2017 · Issue 83. 21 July, 1955, Pécs, Hungary. Béla Tarr insists that his films do not fall into distinctive periods, preferring to identify something akin to a steady evolution rather than marked turning points. Arguing, for example, “if you watch them all together, you can see that this is the same man’s work,” 1 there are notable shifts in ...
Béla Tarr auf dem Sarajevo Film Festival, 2007. Béla Tarr [ˈbeːlɒ tɒrː] (* 21. Juli 1955 in Pécs) ist ein ungarischer Filmregisseur.Sein Opus magnum Satanstango zählt für viele Kritiker zu den bedeutendsten Werken der Filmgeschichte.
1. Juli 2013 · From Almanac of Fall (1984) to The Turin Horse (2011), renowned Hungarian filmmaker Béla Tarr has followed the collapse of the communist promise. The “time after” is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are ...
- Jacques Rancière
Béla Tarr, the time after. “From Almanac Of Fall (1984) To The Turin Horse (2011), Renowned Hungarian Filmmaker Béla Tarr Has Followed The Collapse Of The Communist Promise. The Time After Is Not The Uniform And Morose Time Of Those Who No Longer Believe In Anything.
It also exemplifies quite well Béla Tarr’s unique style, his films following their own rhythm, taking time in long black and white shots. In the year 2000, WERCKMEISTER HARMONIAK won the Grand Prize at the Hungarian Film Week, THE MAN FROM LONDON, an adaptation of “L’Homme de Londres” by Georges Simenon and with performances by Miroslav Krobot and Tilda Swinton, ran in competition in ...
From _Almanac of Fall_ to _The Turin Horse_, renowned Hungarian filmmaker Béla Tarr has followed the collapse of the communist promise. The “time after” is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved ...
