427:), and tells her that Brown is under suspicion for the theft and for the murder at the quayside. He asks for her help in finding him and repeats to her Mitchell's offer to Brown, but she remains silent. At home, Henriette tells Maloin she found a man in their hut at the seaside, and in fear locked the door and ran home. An agitated Maloin tells her not to tell anyone, and leaves for the hut. He unlocks the door, and receiving no response to his calling Brown's name, steps inside, closing the door behind. Minutes later he re-emerges, breathing heavily. After pausing to compose himself, he locks the door and leaves. In the next scene, Maloin presents the briefcase to Morrison in the tavern, and asks him to arrest him, confessing to having killed Brown an hour ago. Morrison leaves with Maloin for the hut, dismissing the frenzied inquiries of Brown's wife about her husband and handing the briefcase to the barkeep on the way out. Brown's wife follows the men to the hut, and emerges weeping with Morrison moments later. Back at the tavern, Morrison prepares two envelopes with a small portion of the recovered money in each. One he leaves with the grieving widow to whom he apologizes and wishes well, while the other he gives to Maloin, telling him that his case was one of self-defense. As he is preparing to leave, Morrison advises Maloin to go home and forget the whole affair. The camera focuses on the expressionless face of Brown's wife momentarily before fading to white.
36:
409:) discusses with Brown the matter of the stolen money. Morrison claims to be working on behalf of a theater owner named Mitchell, a theatre owner from whose office safe the £55,000 was stolen. Morrison proposes that Brown, being intimately familiar with Mitchell's office, is the only man he knows who was capable of making away with the money without raising alarm. Morrison indicates that Mitchell cares only that the money is returned swiftly, and is even prepared to offer a two nights' theater takings in exchange. When Morrison mentions having visited Brown's wife and asks what he should tell Mitchell, Brown leaves the room under a pretense and slips out a side door. Nearby playing chess with the barkeep, Maloin has overheard the conversation.
35:
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471:, which foregrounds the perceptions and point of view of an accidental witness to the murder, who, like the viewer, has no connection with anyone involved. The film principally concerns the texture of the world of the protagonist Maloin as he experiences it first hand: fog, light, shadow, skin, walls, floors, windows, sounds. These are much closer to Maloin than any broken laws involving strangers as in the killing at the dock. As distinct from the trope of crime functioning as a break from the boredom of the mundane for the Hitchcockian ordinary man "excitingly" caught up in it, the interjection of crime in the lives of the characters of
657:(MMKA) and the Minister of Culture pledged to back the production if a guarantee could be made that the film would be finished safely. A compromise filming schedule was negotiated whereby a quarter of the shoot would take place in Eastern Europe rather than Corsica and fewer shooting days would be allotted. This allowed the original €5 million budget to be reduced by €700,000 to the amount available. With the funding promises secured and a revised shooting schedule, the film's producers forged a new co-production contract in July 2005.
394:). One night while in his viewing tower at the port's rail terminus, Maloin witnesses a fight on the dockside. One of the shady combatants is knocked into the water along with the briefcase he carries; when the other flees the dark quayside, Maloin makes a clandestine descent from the tower and retrieves the briefcase, which he finds full of sodden English banknotes. Maloin conceals the money and tells no-one of what he has seen. The next morning, he visits a tavern where he plays chess with the barkeep (
2652:
327:. The plot follows Maloin, a nondescript railway worker who recovers a briefcase containing a significant amount of money from the scene of a murder to which he is the only witness. Wracked by guilt and fear of being discovered, Maloin sinks into despondence and frustration, which leads to acrimony in his household. Meanwhile, an English police detective investigates the disappearance of the money and the unscrupulous characters connected to the crime.
420:. They return home to the consternation of Camélia, who cannot comprehend why Maloin has ruined Henriette's chances of a job and spent what little savings the family had on the extravagant stole. During Maloin's shift the next night he is visited by Morrison, who questions him as to the previous night's events as the body of the drowned man is retrieved from the quayside below.
666:
Coficiné consented to completing the film. On
February 6, 2006, Tarr and producer Gábor Téni issued a press release which documented at length the developments with the troubled production to that date, and expressed their hope and intent to persevere in completing the film. Tarr duly restarted shooting in March 2006, after a year of inactivity. The filmmakers dedicated
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2 million. The French funding was cross-financed for the shoot by T. T. Filmműhely. As funds were frozen however, the
Corsican subcontractor Tanit Films (controlled by the film's then-executive producer Jean-Patrick Costantini), terminated their contract with Balsan and through legal action compelled
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officer. In the meantime, the French partners
Mezzanine Film declared their discomfort with the scale of the production, and after mutual agreement with the producers, left the project on September 5, 2005. After meeting with the producers and their new French partner, Paul Saadoun of 13 Production,
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of the collaborators' preceding films, as the characters exemplify no social classes and the film focuses on their internal and interrelational dynamics rather than their environment. Tarr explained that he had been drawn to adapt the novel because "it deals with the eternal and the everyday at one
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While the production's lawyers worked to clarify its legal standing in the Summer of 2005, it emerged that
Humbert Balsan's deeply indebted production company Ognon Pictures had pledged all rights to the production to Coficiné in exchange for loans. With production in legal stasis and faced with a
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and the same time. It deals with the cosmic and the realistic, the divine and the human, and to my mind, contains the totality of nature and man, just as it contains their pettiness." It was the first of the director's films not to feature the
Hungarian language or an Eastern European setting. The
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sets, until they were shut down through legal action by the local subcontractor. After many expressions of support from
European film organisations, production companies and government bodies, a new co-production contract was signed in July 2005 with a revised budget and shooting schedule. It then
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in the role of Brown's wife as "strangely compelling". Reviewing the film following its theatrical release, he found the dubbed dialogue affected and odd, the score doom-laden, the occasional humour mordant, and the cinematography mesmerising, remarking that net effect was "unsettling, sometimes
475:
is a phantom occurrence for those burrowed into the center of the mundane details of their lives. In other words, Tarr's film suggests the possibility that it is only on an abstract plane that murder committed by and on strangers causes a stir and demands an investigation. In this context, it is
416:). He brings her to the tavern for a drink, where he overhears the barkeep telling another patron the story of Brown's meeting with the inspector, revealing that Morrison had called the local police when Brown absconded. Though Henriette refuses her drink, Maloin buys her an expensive mink
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emerged that all rights to the film had been ceded to a French bank under the original production agreement, and only after further changes in the film's backers was a deal struck with the bank to allow shooting to resume in March 2006, over a year later than had been originally envisaged.
402:) watching him from below. At dinner, Maloin is increasingly irascible, addressing Henriette brusquely and arguing with Camélia. Meanwhile, Brown searches the water at the dock's edge without success before noticing the watchtower overlooking the quayside, and Maloin within.
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allowed that Tarr "makes it easy for viewers to get lost in his beautifully bleak world and lose track of time" but complained that in comparison with its predecessors, the film's central theme of guilt seemed insubstantial and the film itself felt "slight and incomplete".
616:
So this is where we are at this moment. The agreement with Ognon and
Coficiné has been concluded, the signed contract has been submitted to the court in Paris and we shall soon start shooting the film which is now relieved from the burden of the past.
866:, Dave Calhoun too drew attention to the meticulous cinematography and signature shot lengths of Tarr's "austere and mesmeric" film, and declared Swinton's dubbing into Hungarian one of the festival's strangest instances of cultural displacement.
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was generally positive, though less adamant than that of the director's previous two works; while reviewers spoke in glowing terms of the formidable cinematography and meticulous composition, they felt the film lacked compelling characters.
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fitting that the investigation must be undertaken by a stranger, the man from London, since abstraction entails distancing from an enveloping context. Only the appearance of the man from London, Brown, impels Maloin to struggle with his
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in
February 2005, days before shooting was due to begin. As the original financing of the film collapsed, the remaining producers managed to secure stop-gap funding which allowed them to shoot nine days of footage on the expensive
737:. It proved controversial in New York, where elements of the audience reacted favourably when the film appeared to end prematurely due to a technical fault; others greeted the actual conclusion with fervent applause and calls of
599:, Corsica. Balsan's death led to significant financial difficulties for the production. The film had been established as a co-production with French, German and Hungarian financing. Tarr's Budapest-based production company
860:, Kirk Honeycutt complimented the intricacy of the cinematography and the monochrome photography, but judged the film to be "tedious", "repetitive" and "nearly unwatchable". In a review of Cannes' offerings for
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the production to dismantle the sets and leave the shooting location. At that point, Ognon
Pictures shut the production down and disassociated themselves from the film, and Tarr withdrew to Hungary to regroup.
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The development of the film was problematic, with threats to shut down the production, lack of financing, and ultimately a return to work. The project first faltered in
February 2005, when the film's producer
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According to critic Martha P. Nochimson, the film is an exploration of the place of anonymous breakdowns of social order in personal life. For the most part, questions of justice operate in the background of
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generally praised its formalist aesthetic and painstakingly composed scenes, while criticizing its slow pace and lack of a compelling plot. Most argued the film fell short of Tarr's previous efforts.
398:). On his way home, he stops by the butcher's where his daughter works, and finds to his indignation that they have her washing the floor. Later, from the window of his apartment, he notices Brown (
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reviewer Derek Elley commented that the film was unlikely to reconcile the division between viewers of Tarr's films who find the director to be "either a visionary genius or a crashing bore".
654:
701:, Tarr's first film to do so. Although its showing was highly anticipated, the slow pace and prolonged shots of the film "had the press fleeing like panicked slaughterhouse cattle" as
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We sincerely hope that the descent to hell and the humiliation is over, finally we can switch off the light in the projection hall, and we can see what it was all about after all.
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Expressions of sympathy and solidarity from the European film community manifested in renewed assurances of continued support from the production's German partners, ARTE, and the
177:
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would put an end to the polarization of Tarr's audiences into those who hail him as a director of "visionary genius" and those for whom he is a "crashing bore". Martin Tsai of
653:(whose support was conditional on the film having 51% of its dialogue in French). New French financing was secured from production company Mezzanine Film, and in Hungary, the
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350:, but despite being highly anticipated, it won no prize. The French distributor blamed this on poor dubbing and a late showing, though the press was put off by the film's
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The French, German and Hungarian co-production of the film was fraught with difficulty and obstacles. The first of these was the suicide of the film's French producer,
1997:
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as "bloated, formalist art", and an "outrageously stylized, conceptually demanding film" that dehumanizes and alienates its audience. Conversely, Jeff Reichert of
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released the film theatrically in December 2008, 18 months following its Cannes premiere. They later released a DVD box set of Tarr's films which collected
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out of competition had previously been rejected by the festival's board. Following its Cannes appearance, the film was screened at the film festivals of
1683:
846:, a long-time Tarr enthusiast, commended the film for its technical dexterity and authoritative camera movement, comparing Tarr to Taiwanese director
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put it, and it won no prize. This failure was attributed by the film's French distributor Shellac to its late showing and the poor quality of the
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Maloin calls to the butcher's and drags Henriette from the store against her will and over the protestations of the butcher's wife (
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483:, as an ordinary man, from moral principle, an alienation linked, counterintuitively, to the absence of desire in his daily grind.
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were to provide the Hungarian funding for the project, while Balsan had secured the French and German financing for the film by
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committed suicide. Tarr reported receiving word of his producer's death two days before shooting was scheduled to begin in
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Because what is made ready from this shooting of half an hour or so is something that makes all of us burst with pride!
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concluded that the film "stands as an example of style for the sake of pure and intense but dispassionate style".
2778:
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641:, Tarr used these and the Hungarian funds to undertake nine days of shooting on sets he had built at a cost of
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611:. Upon learning of his death, the bank withdrew its support for the production, which was then postponed.
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for his cinematic rigor. He did, however, consider the source material sub-par, and the musical score by
650:
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748:, and it was re-dubbed in French and English. The new version had its North American premiere at the
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2002:
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described the film as "bizarre and lugubrious, but mesmeric", and praised the muted performance of
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1984:
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lengthy court battle to recover the rights, the producers agreed to a settlement with Ognon's
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386:), who lives in a decrepit apartment in a port town with his highly-strung wife Camélia (
1513:
1441:"Hungarian filmmaker continues shoot of troubled production". Europe Intelligence Wire.
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Press release by director Béla Tarr and producer Gábor Téni, February 6, 2006.
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and leaden pace. After being re-dubbed, it was shown on the international
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311:. The film features an international ensemble cast including Czech actor
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in New York City in September 2008. In the United Kingdom, distributor
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Later at the tavern, a police inspector from London named Morrison (
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1711:"Spirited Away: The 45th Annual New York Film Festival – Part Two"
1548:. Hungarian Ministry of Education and Culture. September 22, 2008
336:
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was the first of Tarr's films to premiere in competition at the
2205:"Béla Tarr's Magnificent Harmonies Gives Way to Anemic Noir in
596:
1386:"Cannes: Odes to a beautiful France and austerity in Britain"
2294:
1059:"Affirmation? New York Film Festival Report 2007 (Part Two)"
1738:
Frater, Patrick (May 1, 2007). "Fortissimo makes plans for
912:
678:
642:
638:
517:. The novel had been twice adapted for film previously; as
299:. It is an adaptation by Tarr and his collaborator-friend
423:
The next day at the tavern, Morrison meets Brown's wife (
1514:"Jury president Frears defends absence of British films"
582:– the film's editor and his long-time collaborator.
1656:"Make a story real – or why film it, director asks"
1411:
1664:. CanWest MediaWorks Publications. October 4, 2007
772:(2000). In the United States the film was given a
2493:
2670:
1927:"Slowly, Slowly in the Fog to Noir, via Simenon"
1449:
1412:Gaydos, Steven; Katja Hofmann (March 20, 2005).
1376:
805:s Derek Elley rated the film on a par with his
744:Global sales rights to the film were bought by
2784:Films with screenplays by László Krasznahorkai
1345:. Independent News & Media. Archived from
1326:
1324:
1139:
1137:
985:
2479:
2310:
1218:
1214:
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491:Director Béla Tarr and novelist-screenwriter
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1370:
1368:
1366:
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885:absurd, sometimes stunning". Ed Gonzalez of
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1977:
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1606:. Reed Business Information. Archived from
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1286:
1284:
1282:
1280:
1278:
1276:
1274:
1134:
986:Tarr, Béla; Gábor Téni (February 8, 2006).
981:
2537:Destruction and Sorrow Beneath the Heavens
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16:2007 film by Béla Tarr and Ágnes Hranitzky
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1983:
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1542:"New Tarr Film in Wide Release in France"
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819:(2000), remarking it was improbable that
633:After securing additional financing from
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670:to their late colleague Humbert Balsan.
378:The film concerns a middle-aged railway
2714:Films based on works by Georges Simenon
2113:
2107:
1860:
1708:
1631:"Edinburgh International Film Festival"
1587:
1531:
1511:
1405:
1291:Schwinke, Theodore (February 8, 2006).
1219:Bálint Kovács, András (February 2008).
1101:
958:
920:
291:) is a 2007 Hungarian film directed by
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2580:The Bill: For Palma Vecchio, at Venice
2026:"MoMA Snatches Two From the Art House"
1920:
1918:
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1819:
1813:
1791:
1737:
1566:
1505:
1479:
1331:Romney, Jonathan (December 14, 2008).
1330:
1174:
1107:
1057:Nochimson, Martha P. (December 2007).
1014:
780:, who later made it available through
709:. A proposal for the film to open the
578:. Tarr shared directorial credit with
553:was something of a departure from the
2467:
2298:
2289:Interview with Tarr from May 23, 2007
2173:Bradshaw, Peter (December 12, 2008).
2053:"The Man from London: Weight and Sea"
2051:Reichert, Jeff (September 16, 2008).
2017:
1709:Buening, Michael (October 15, 2007).
1676:
1593:
1025:
787:
585:
2023:
1752:
1143:
1108:French, Philip (December 14, 2008).
495:had been collaborators since making
2203:Gonzalez, Ed (September 16, 2008).
2024:Tsai, Martin (September 25, 2008).
1950:
1944:
1924:
1915:
1629:O'Neill, Phelim (August 11, 2007).
1512:Higgins, Charlotte (May 17, 2007).
1467:. Cannes Film Festival. 23 May 2007
1259:. Cannes Film Festival. 23 May 2007
1229:(Special Issue 7: Hungarian Cinema)
908:"The Man from London (2007) - IMDb"
655:Hungarian Motion Picture Foundation
13:
2196:
1925:Lee, Nathan (September 22, 2008).
1567:Nadler, John (November 29, 2007).
1221:"The World According to Béla Tarr"
14:
2810:
2232:
2091:. Nielsen Company. Archived from
1820:Sandhu, Sukhdev (July 28, 2009).
1792:Gibley, Ryan (December 5, 2008).
1569:"Hungarian fest rejects Tarr pic"
998:. Magyar Filmunió. Archived from
2769:English-language Hungarian films
2651:
2650:
2147:Bradshaw, Peter (May 24, 2007).
2077:Honeycutt, Kirk (May 24, 2007).
1951:Ide, Wendy (December 11, 2008).
1861:Koehler, Robert (May 26, 2009).
1594:Kelly, Brendan (June 26, 2007).
1175:Brooke, Michael (January 2009).
697:premiered in competition at the
505:, they sought to adapt the 1934
2704:Hungarian black-and-white films
21:The Man from London (1943 film)
2114:Calhoun, Dave (May 25, 2007).
1144:Bori, Erzsébet (Spring 2008).
900:
838:reviewer Nathan Lee described
390:) and his daughter Henriette (
178:Von Vietinghoff Filmproduktion
1:
2764:English-language French films
2759:English-language German films
2709:Films based on Belgian novels
2324:
1871:. Church of Christ, Scientist
1868:The Christian Science Monitor
1026:Elley, Derek (May 28, 2007).
894:
486:
2699:German black-and-white films
2694:French black-and-white films
2553:Baron Wenckheim's Homecoming
2521:The Melancholy of Resistance
1760:"MoMA Presents: Béla Tarr's
1748:. Reed Business Information.
1414:"'Man' overboard in Corsica"
607:a loan from the French bank
7:
2774:2000s French-language films
2724:Films directed by Béla Tarr
2719:Films based on crime novels
1575:. Reed Business Information
1422:. Reed Business Information
1337:, Béla Tarr, 135 mins, 12A"
1038:. Reed Business Information
854:to be "whirring grat". In
651:French National Film Centre
562:of the film included Czech
461:
307:by prolific Belgian writer
10:
2815:
2799:Films scored by Mihály Víg
1185:. British Film Institute.
809:(1988) but as inferior to
673:
18:
2739:Films shot in Haute-Corse
2648:
2597:
2571:
2502:
2451:Béla Tarr, the Time After
2442:
2423:
2332:
1600:reigns in Toronto lineup"
1487:"Official Selection 2007"
1177:"The weight of the world"
699:2007 Cannes Film Festival
266:
252:
240:
230:
221:2007 Cannes Film Festival
202:
184:
152:
142:
134:
124:
100:
78:
59:
45:
40:Theatrical release poster
33:
28:
19:For the French film, see
2754:Hungarian-language films
2744:French crime drama films
2689:German crime drama films
1895:Movie Reviews, Pictures"
1863:"A foreign-film fadeout"
1822:"DVD review: Béla Tarr;
1293:"Tarr to resume work on
937:> Production Credits"
2749:Remakes of French films
1842:. Telegraph Media Group
1150:The Hungarian Quarterly
869:Reporting from Cannes,
430:
373:
319:, and Hungarian actors
2779:Police detective films
2684:2007 crime drama films
2622:Werckmeister Harmonies
2397:Werckmeister Harmonies
2088:The Hollywood Reporter
1998:Alternative Film Guide
1828:Werckmeister Harmonies
1794:"Slow-gestation films"
1684:"Competition Features"
1493:. Cannes Film Festival
1305:. EMAP. Archived from
1146:"From a Tower, Darkly"
1122:. Guardian Media Group
1079:10.3366/film.2007.0022
857:The Hollywood Reporter
817:Werckmeister Harmonies
769:Werckmeister Harmonies
691:
688:Sarajevo Film Festival
625:
513:by the Belgian writer
361:Critical reception to
286:
2217:. Village Voice Media
1690:. Split Film Festival
1443:Magyar Távirati Iroda
792:Critical reaction to
681:
614:
570:, and the Hungarians
211:23 May 2007
2734:Films shot in France
2496:László Krasznahorkai
2278:Cannes Film Festival
1688:splitfilmfestival.hr
1197:on December 19, 2008
1002:on February 25, 2008
750:Museum of Modern Art
690:showing of the film.
493:László Krasznahorkai
348:Cannes Film Festival
301:László Krasznahorkai
90:(executive producer)
88:Juliusz Kossakowski
86:Christoph Hahnheiser
73:László Krasznahorkai
2630:The Man from London
2405:The Man from London
2273:The Man from London
2262:The Man from London
2251:The Man from London
2240:The Man from London
2207:The Man from London
2177:The Man from London
2081:The Man from London
1991:The Man from London
1955:The Man from London
1893:The Man from London
1832:The Man from London
1762:The Man from London
1459:The Man from London
1457:"Press Conference:
1349:on January 18, 2009
1335:The Man from London
1309:on October 30, 2006
1295:The Man from London
1251:The Man from London
1112:The Man from London
1030:The Man from London
990:The Man from London
935:The Man from London
840:The Man from London
821:The Man From London
794:The Man from London
758:The Man from London
711:Hungarian Film Week
695:The Man from London
668:The Man from London
551:The Man from London
549:in the lead roles.
503:The Man from London
473:The Man from London
469:The Man From London
363:The Man from London
344:The Man from London
278:The Man from London
29:The Man from London
2794:2000s German films
2789:2000s French films
2545:Seiobo There Below
1987:(August 3, 2009).
1965:. News Corporation
1931:The New York Times
1719:. PopMatters Media
1491:festival-cannes.fr
1465:festival-cannes.fr
1391:The New York Times
1257:festival-cannes.fr
835:The New York Times
788:Critical reception
703:The New York Times
692:
586:Production history
530:Temptation Harbour
511:L'Homme de Londres
305:L'Homme de Londres
303:of the 1934 novel
166:Black Forest Films
2664:
2663:
2587:The World Goes On
2461:
2460:
2357:The Prefab People
2214:The Village Voice
2116:"Cannes round-up"
2005:on August 6, 2009
1661:The Vancouver Sun
1445:. March 20, 2006.
1249:"In Competition:
1182:Sight & Sound
946:. All Media Guide
888:The Village Voice
274:
273:
91:
68:
2806:
2654:
2653:
2488:
2481:
2474:
2465:
2464:
2454:(2011 biography)
2319:
2312:
2305:
2296:
2295:
2291:at Cineuropa.org
2285:at Cineuropa.org
2227:
2226:
2224:
2222:
2200:
2194:
2193:
2191:
2189:
2170:
2164:
2163:
2161:
2159:
2149:"Cannes roundup"
2144:
2138:
2137:
2135:
2133:
2124:. Archived from
2111:
2105:
2104:
2102:
2100:
2074:
2068:
2067:
2065:
2063:
2048:
2042:
2041:
2039:
2037:
2030:The New York Sun
2021:
2015:
2014:
2012:
2010:
2001:. Archived from
1981:
1975:
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1970:
1948:
1942:
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1384:(May 24, 2007).
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1193:. Archived from
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929:
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875:
826:The New York Sun
804:
746:Fortissimo Films
629:
601:T. T. Filmműhely
539:William Hartnell
527:in 1943, and as
445:as Maloin's wife
218:
216:
189:Fortissimo Films
89:
66:
38:
26:
25:
2814:
2813:
2809:
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2644:
2638:The Turin Horse
2593:
2567:
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2498:
2492:
2462:
2457:
2438:
2419:
2413:The Turin Horse
2373:Almanac of Fall
2328:
2323:
2256:Rotten Tomatoes
2235:
2230:
2220:
2218:
2201:
2197:
2187:
2185:
2171:
2167:
2157:
2155:
2145:
2141:
2131:
2129:
2128:on June 7, 2011
2112:
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2098:
2096:
2095:on June 5, 2008
2075:
2071:
2061:
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2045:
2035:
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2018:
2008:
2006:
1982:
1978:
1968:
1966:
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1935:
1933:
1923:
1916:
1906:
1904:
1900:Rotten Tomatoes
1889:
1888:
1884:
1874:
1872:
1859:
1855:
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1843:
1839:telegraph.co.uk
1818:
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1610:on July 2, 2007
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1378:Dargis, Manohla
1375:
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1342:The Independent
1329:
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1066:Film-Philosophy
1061:
1055:
1051:
1041:
1039:
1024:
1015:
1005:
1003:
984:
959:
949:
947:
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921:
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901:
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873:
848:Hou Hsiao-hsien
802:
790:
782:video-on-demand
776:in May 2009 by
774:limited release
676:
631:
627:
588:
580:Ágnes Hranitzky
564:Miroslav Krobot
515:Georges Simenon
507:French language
489:
464:
437:Miroslav Krobot
433:
384:Miroslav Krobot
376:
313:Miroslav Krobot
309:Georges Simenon
297:Ágnes Hranitzky
288:A londoni férfi
259:
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233:
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117:
115:
111:
107:
105:Miroslav Krobot
96:
92:
87:
85:
71:
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64:Georges Simenon
54:Ágnes Hranitzky
52:
41:
24:
17:
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2233:External links
2231:
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2043:
2016:
1985:Schneider, Dan
1976:
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1072:(3): 118–131.
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878:Peter Bradshaw
789:
786:
754:Artificial Eye
675:
672:
613:
593:Humbert Balsan
587:
584:
555:social realism
520:The London Man
501:in 1987. With
488:
485:
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352:extended shots
332:Humbert Balsan
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125:Cinematography
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1253:by Béla Tarr"
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583:
581:
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576:István Lénárt
573:
569:
568:Tilda Swinton
565:
561:
560:ensemble cast
556:
552:
548:
544:
543:Robert Newton
540:
537:in 1947 with
536:
535:Lance Comfort
532:
531:
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441:
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407:István Lénárt
403:
401:
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385:
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369:
364:
359:
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356:film festival
353:
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322:
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314:
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174:TT Filmmuhely
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170:Cinema Soleil
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162:13 Production
159:
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109:Tilda Swinton
106:
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51:
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37:
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2424:Written only
2411:
2404:
2403:
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2387:
2379:
2371:
2363:
2355:
2349:The Outsider
2347:
2339:
2272:
2261:
2250:
2239:
2219:. Retrieved
2212:
2206:
2198:
2186:. Retrieved
2183:The Guardian
2182:
2176:
2168:
2156:. Retrieved
2153:The Guardian
2152:
2142:
2130:. Retrieved
2126:the original
2119:
2109:
2097:. Retrieved
2093:the original
2086:
2080:
2072:
2060:. Retrieved
2057:Reverse Shot
2056:
2046:
2034:. Retrieved
2029:
2019:
2007:. Retrieved
2003:the original
1996:
1990:
1979:
1967:. Retrieved
1960:
1954:
1946:
1934:. Retrieved
1930:
1905:. Retrieved
1898:
1892:
1885:
1873:. Retrieved
1866:
1856:
1844:. Retrieved
1837:
1831:
1827:
1823:
1815:
1803:. Retrieved
1799:The Guardian
1797:
1787:
1775:. Retrieved
1767:
1761:
1754:
1743:
1739:
1733:
1721:. Retrieved
1714:
1704:
1692:. Retrieved
1687:
1678:
1666:. Retrieved
1659:
1650:
1638:. Retrieved
1635:The Guardian
1634:
1624:
1612:. Retrieved
1608:the original
1603:
1597:
1589:
1577:. Retrieved
1572:
1562:
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270:€4.3 million
232:Running time
204:Release date
129:Fred Kelemen
113:Janos Derzsi
2598:Screenplays
2341:Family Nest
2036:October 12,
1226:Kinokultura
1201:October 12,
1093:December 8,
996:Filmunió.hu
882:Agi Szirtes
815:(1994) and
766:(1988) and
425:Agi Szirtes
396:Gyula Pauer
236:139 minutes
79:Produced by
46:Directed by
2679:2007 films
2673:Categories
2614:Sátántangó
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2389:Sátántangó
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895:References
852:Mihály Víg
812:Sátántangó
663:bankruptcy
605:warranting
487:Background
481:alienation
414:Kati Lázár
382:, Maloin (
215:2007-05-23
154:Production
147:Mihály Vig
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2606:Damnation
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682:Director
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498:Damnation
449:Erika Bók
439:as Maloin
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358:circuit.
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293:Béla Tarr
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119:Erika Bók
70:Béla Tarr
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686:at the
674:Release
368:Variety
257:English
248:Germany
244:Hungary
213: (
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2641:(2011)
2633:(2007)
2625:(2000)
2617:(1994)
2609:(1988)
2590:(2013)
2564:(2019)
2556:(2016)
2548:(2008)
2540:(2004)
2532:(1999)
2524:(1989)
2516:(1985)
2435:(1998)
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545:, and
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246:France
219: (
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