Introduction
Béla Tarr, the Hungarian filmmaker, is one of the most distinctive and uncompromising auteurs in world cinema. Known for his long takes, stark black-and-white cinematography, and deeply philosophical narratives, Tarr’s films are meditations on human existence, despair, and the passage of time. His work defies conventional storytelling, instead opting for a hypnotic, immersive approach that demands patience and contemplation from the viewer.
From his early social realist films to his later metaphysical epics, Tarr’s filmography is a journey through the human condition, marked by a unique visual and narrative style that has influenced countless filmmakers. This article explores Tarr’s life, his stylistic evolution, his major works, and his enduring legacy in cinema.
Early Life and Influences
Béla Tarr was born on July 21, 1955, in Pécs, Hungary. Growing up in socialist Hungary, he was exposed to the political and social struggles that would later permeate his films. Unlike many filmmakers, Tarr did not attend film school. Instead, he began making amateur films at the age of 16, influenced by the documentary tradition and the works of Hungarian directors like Miklós Jancsó, whose long takes and political themes would later resonate in Tarr’s own cinema.
Tarr’s early exposure to philosophy, particularly the works of Friedrich Nietzsche and Arthur Schopenhauer, also shaped his worldview. His films often grapple with themes of nihilism, fate, and the cyclical nature of human suffering.
The Evolution of Béla Tarr’s Style
1. Early Social Realism (1977–1985)
Tarr’s first films were rooted in social realism, focusing on the struggles of working-class people under Hungary’s communist regime. These works were shot in a raw, documentary-like style, reminiscent of early John Cassavetes or the British Kitchen Sink realism movement.
- Family Nest (1979) – A bleak portrayal of housing shortages and familial tensions in Budapest.
- The Outsider (1981) – A story of alienation and societal neglect.
- The Prefab People (1982) – A fragmented narrative about a disintegrating marriage.
These films employed handheld cameras, naturalistic performances, and a focus on everyday suffering. However, even in these early works, Tarr’s fascination with long takes and existential themes was evident.
2. Transition to Lyrical Minimalism (1985–1994)
By the mid-1980s, Tarr’s style began shifting toward a more poetic, visually controlled approach. He collaborated with novelist László Krasznahorkai, whose dense, philosophical prose deeply influenced Tarr’s later films.
- Damnation (1988) – A turning point in Tarr’s career, this film introduced his signature long takes, brooding atmosphere, and metaphysical themes. The story of a lonely man trapped in a loveless affair is rendered in haunting black-and-white cinematography.
- Satantango (1994) – A seven-hour epic based on Krasznahorkai’s novel, Satantango is Tarr’s magnum opus. It follows a group of villagers awaiting a mysterious figure, Irimiás, who may be their savior or their doom. The film’s hypnotic pacing, intricate tracking shots, and apocalyptic tone make it one of the most ambitious works in cinema history.
3. The Late Period: Existential Epics (2000–2011)
Tarr’s final films are characterized by an even more refined visual style and a deepening preoccupation with fate and human futility.
- Werckmeister Harmonies (2000) – A surreal parable about chaos and order, featuring a traveling circus with a giant whale and a shadowy figure known as “The Prince.” The film’s centerpiece—a 10-minute tracking shot of a mob descending into violence—is one of Tarr’s most breathtaking sequences.
- The Man from London (2007) – A noir-inflected tale of a railway worker who witnesses a murder and steals the victim’s money, only to face moral consequences.
- The Turin Horse (2011) – Tarr’s final film, inspired by Nietzsche’s mental breakdown after witnessing a horse being whipped. The film depicts six days in the life of a farmer and his daughter as they endure an increasingly bleak existence. Its minimalist structure and apocalyptic tone serve as a fitting swan song to Tarr’s career.
After The Turin Horse, Tarr announced his retirement from filmmaking, stating that he had said everything he needed to say.
Key Elements of Béla Tarr’s Cinema
1. The Long Take
Tarr’s films are famous for their extended shots, often lasting several minutes. These long takes create a sense of real-time immersion, forcing the viewer to experience the weight of each moment. Unlike the rapid editing of mainstream cinema, Tarr’s approach is meditative, allowing scenes to unfold with a hypnotic rhythm.
2. Black-and-White Cinematography
Tarr’s collaboration with cinematographer Gábor Medvigy (and later Fred Kelemen) resulted in some of the most striking monochrome imagery in film history. The absence of color enhances the stark, oppressive atmosphere of his worlds. Shadows, fog, and rain become characters in themselves.
3. Music and Sound Design
Composer Mihály Vig’s haunting, repetitive scores are integral to Tarr’s films. The music—often a melancholic accordion or a droning organ—reinforces the cyclical nature of Tarr’s narratives. Sound design is equally crucial, with ambient noises (wind, creaking doors, footsteps) heightening the sense of dread.
4. Themes of Decay and Futility
Tarr’s films are preoccupied with entropy—the slow unraveling of societies, relationships, and individuals. His characters are often trapped in hopeless situations, their struggles rendered with a brutal yet poetic realism.
5. Influence of Philosophy
Nietzsche’s ideas on eternal recurrence, Schopenhauer’s pessimism, and Heidegger’s existentialism permeate Tarr’s work. His films ask unanswerable questions: Is life inherently meaningless? Can humans escape their fate?
Legacy and Influence
Though Tarr’s films are not widely seen by mainstream audiences, his impact on cinema is profound. Directors such as Gus Van Sant, Jim Jarmusch, and Carlos Reygadas have cited him as an influence. His emphasis on long takes has inspired contemporary filmmakers like László Nemes (Son of Saul) and Roy Andersson (A Pigeon Sat on a Branch Reflecting on Existence).
Film critics and scholars regard Tarr as one of the last great auteurs of European art cinema. His uncompromising vision and rejection of commercial filmmaking make him a rare figure in modern cinema—an artist who refused to compromise.
Conclusion
Béla Tarr’s films are not merely watched; they are endured, contemplated, and absorbed. His cinema is a testament to the power of patience, visual poetry, and philosophical depth. In an age of fast cuts and disposable entertainment, Tarr’s work stands as a monument to the enduring power of slow, deliberate storytelling.
Though he has retired from filmmaking, his influence lingers. For those willing to submit to his glacial pace and existential weight, Tarr’s films offer an unparalleled cinematic experience—one that lingers long after the final frame fades to black.