Sátántangó (Tarr, 1994)

Satantango

Tarr’s poetic vision, a realism so uncanny, so surreal, so alive, is realized in each and every frame of the film, only minorly slighted by Tarr’s undeniable social-satirical agenda. This affectation of his work, which is exceedingly present in his early films, is nearly overcome in Sátántangó, a film which seems to demarcate Tarr’s transcendence to the purely cinematographic—purely poetic cinema—that is found in his final two features, Werckmeister Harmonies and The Turin Horse.

Sátántangó is a monumental cinematic achievement. It uses the art of cinematography, poetry, and literature to convey an image of the experiencing of life, an image which seeks to contain within its form the very depths of space and time, ephemerality and eternity, being and nothingness. There is perhaps no other film more formally daring, more patient and resolute, more wholly encapsulating than Sátántangó.

99/100 – Masterful

5 Stars

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About Kamran Ahmed

I have a Masters in Cinema Studies from the University of Toronto. I work as a freelance writer and film critic in Vancouver. My writing is primarily distributed through Next Projection, an online film journal based in Toronto.
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One Response to Sátántangó (Tarr, 1994)

  1. Pingback: Sátántangó Explained (Tarr, 1994) | Aesthetics Of The Mind

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