By Jacques Rancière
From Almanac of Fall (1984) to The Turin Horse (2011), popular Hungarian filmmaker Béla Tarr has the cave in of the communist promise. The “time after” isn't the uniform and morose time of these who not think in whatever. it's the time once we are much less attracted to histories and their successes or mess ups than we're within the smooth textile of time from which they're carved. it's the time of natural fabric occasions opposed to which trust may be measured for so long as existence will maintain it.
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Extra info for Bela Tarr, the Time After (Univocal)
When her brother exits the house with leprous walls, we will see her full height, with her overly-long cardigan and her bulky boots, which, along with the short dress draped over her pants, seem to condense the surrounding universe of wind, rain, fog, and mud, rather than providing the means of protecting her from it. Soon thereafter, she and her brother will be no more than two small points absorbed by the gray desert. But in the following shot we will be on the training ground of her second idiotic virtue: her capacity for belief.
Even if satantango is developed around the story of a nest egg, coveted by a dozen characters abandoned in a forgotten countryside, the film returns the stories of familial viper nests, and of petty trafficking between false friends, to the time of the great collective story. This is the story of a promise and a swindle. It is, at first sight, the most banal of scenarios for a film addressing communism. And the cyclical form adopted by the film - following Laszlo Krasznahorkais 37 novel, which it brings to the screen - seems, equally, to be the most banal means of adapting the form of the return to a repetitive history, to a fiction of disappointed social hope.
It is by means of their rage that the filmic action takes place - the filmic action which now sends janos toward the square , toward the truck where he gets one final look at the whale and hears the watchwords of destruction delivered by the invisible prince , and ultimately toward the street through which he runs while the words calling for the riot resonate . The director simultaneously amplified this riot (which occupies little space in the novel) and rendered it unreal . This begins when the camera following janos halts upon a quintessentially " romantic" nocturnal scene : two picturesque, white buildings emerging from the darkness , brightly illuminated , with their sloped roofs and closed shutters cutting symmetrically through the masses of two trees ; 57 behind them , the noise and flames of explosions , which could have been those of a carnival , had we not already known the true cause of the pyrotechnics : the riot, the participants of which w e will soon see marching.
Bela Tarr, the Time After (Univocal) by Jacques Rancière