The Man From London, based loosely on a lesser-known novel by Belgian crime novelist Georges Simenon, sees Bela Tarr's notoriously slow-roving camera-eye taking in the murder-and-money intrigue of a dark, unspecified port city. Maloin (Miroslav Krobot), middle-aged railroad worker spies an altercation between two men on a dock that results in one of them drowning, dragging a suitcase of British sterling down with him. Maloin retrieves the stash, only to have an English inspector on his trail to recover the loot. None of these proceedings are nearly as exciting as they sound, given that it takes 30 minutes for Tarr to cover the same amount of action The Bourne Ultimatum traces in 30 seconds. But those familiar with Tarr's cinema look for their enthrallments elsewhere, such as in the impeccable choreography of a 10-minute take that can masterfully break down the dramatic and psychological tensions of a scene where most directors would lazily resort to a snappy succession of shot/reverse shots.