Sátántangó (Tarr, 1994)


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


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.
This entry was posted in Reviews (capsule) and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , . Bookmark the permalink.

1 Response to Sátántangó (Tarr, 1994)

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

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s