Béla Tarr’s doom-laden noir is treated to a long-awaited 4K restoration of exquisite clarity by Arbelos Films.
Arbelos’s restoration is so gorgeous that the film’s seven and a half hours slip by as smoothly as Tarr’s majestic long takes.
Tarr talks jury duty at this year’s Marrakech film festival, his film.factory, Donald Trump, and more.
The sterling transfer of Rivers’s brilliant feature debut may not ease your fear of the end of days, but it will get you closer to nature.
The list of “obstructions” ought to be familiar to anyone with any exposure to this parlor game.
It’s the warping, re-signifying logic of affect and memory that architected this list.
When the world is running down, you make the best of what’s still around.
Tarr’s masterful direction and austere cinematography make the film an indelible experience.
Béla Tarr might be a man of few words, but those words pack quite a punch.
Béla Tarr’s supposedly final film sees the filmmaker exhibit the tenacity and methodical approach of a crime scene investigator.
Blame it on the idiot box.
The Turin Horse is a cyclical fable of daily drudgery that strips human life to its barest elements and banalities.
Tarr achieves an almost terrifying power but sometimes squanders it by hanging on too long.
The 8-year-old boy, Matthew, is clutching his mother’s sleeve tight and holding her hand. He looks very pale.
It sees Béla Tarr’s notoriously slow-roving camera-eye taking in the murder-and-money intrigue of a dark, unspecified port city.
The Man From London is a multifaceted apotheosis.
Time is relevant, yes?
The film is made profound by Béla Tarr’s startling visual approach.
This is the turning point for Tarr, leaving social realism behind to step into the existential abyss.
Warm up that espresso machine, because it’s going to be a long night.