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Setting aside my marveling of Bela Tarr films, I’m detouring with a film I heard about from a Father John Misty interview. I was curious and well, it led me down an extremely deranged, nearly unfathomable, grotesque art film that’s traumatized my mind for the past couple of weeks. So, it’s going to be highly
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Bela Tarr’s style emerges quite fiercely in this bleak, confusing story of five misfit characters living under the same roof. Again, emotions are running high and again, you’re going to feel claustrophobic but it has an alluring affect, I promise. It’s practically, hypnotic. I can’t explain it, it just works. Probably due to the quote
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Relationships can be a messy thing if not cared for properly and perhaps love is a mysterious thing too. With that in mind, Bela Tarr’s third cinéma-vérité film, The Prefab People (1982) reflects on the spiraling relationship of a working class family where a surge of emotions run high while the demise of the marriage
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In Bela Tarr’s, The Outsider (1981) there’s a very realistic tone similar to the nature of documentary filmmaking. However, unlike his first feature, Tarr chooses to shoot in color instead of black and white. The premise focuses on Andras, a violinist roaming about from working a job in a mental institution to finding work in
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Béla Tarr’s 1979 black-and-white drama, Family Nest is an impressively poignant film about a scarcely, close-knit, verbally, venomous family of six living in a tiny apartment in the Communist land of Hungary. Being that this was one of Tarr’s first films, it reeks of bleak insight of the everyday life of a family struggling to
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Andrey Zvyagintsev’s Leviathan permeates of allegorical, and biblical vibes so much that it underscores an essential point about bureaucratic big wigs versus your average Joe kind of a guy. Big fish always eats the little fish. It’s about man fighting the power with copious amounts of vodka, a flared temper, who coincidentally likes to shoot
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Lars Von Trier’s grisly film, Antichrist has a plethora of abysmal attributes for a horror, erotic, and somewhat meditative art film. The common recycled plot line about characters enduring a trauma that triggers their psyche to do insane things to rectify their innermost turmoil which consequently, mimics similar films (with less trauma) such as the
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Terrence Malick’s Tree of Life is challenging, complex, and captivating which are all great ingredients for a mind-boggling experience. It exhibits a dynamic and evolving metamorphosis on a contemplative question of whether one should live the way of nature or live the way of grace. Two contrasting ideologies that complement and conflict with each other.
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It’s difficult to fathom that Sacrifice would be Andrei Tarkovsky’s final film, because there’s a significant grace in his artistic conviction for delivering a very humane story about coming to terms with one’s own demise. The story is about Alexander, who’s celebrating his birthday with his estranged family in a house that feels somewhat like
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According to Andrei Tarkovsky from his book, Sculpting in Time he says, “I am interested in man, for he contains a universe within himself; and in order to find expression for the idea, for the meaning of human life, there is no need to spread behind it, as it were a canvas crowded with happenings.”
[Film Reviews from a Female Brain]
MARISSA THE CINEPHILE 