a:hover{color:#000000; font-weight:none; font-style:none; }

 

 

The Prince



 

 

Béla Tarr | Andrei Tarkvosky | Vlitko Gilic | Victor Erice
Krzysztof Kieslowski | Luis Bunuel | Ingmar Bergman

MOVIE [MOV] CLIPS



VHS/DVD COLLECTION

 

 

 

 

 

 

 

BIOGRAPHY:

"Born in 1955, Hungarian filmmaker Béla Tarr began making amateur films at the age of 16, later working as caretaker at a national House for Culture and Recreation. His amateur work brought him to the attention of the Bela Balazs Studios (named in honor of the Hungarian cinema theorist), which helped fund Tarr's 1979 feature debut Family Nest, a work of socialist realism clearly influenced by the work of John Cassavettes. The 1981 piece The Outsider and the following year's The Prefab People continued in much the same vein, but with a 1982 television adaptation of Macbeth, his work began to change dramatically; comprised of only two shots, the first shot (before the main title) was five minutes long, with the second 67 minutes in length. Not only did Tarr's visual sensibility move from raw close-ups to more abstract mediums and long shots, but also his philosophical sensibility shifted from grim realism to a more metaphysical outlook similar to that of Andrei Tarkovsky. After 1984's Almanac of Fall, Tarr (who had written his first four features alone) began collaborating with Hungarian novelist Laszlo Krasznahorkai for 1987's Damnation. A planned adaptation of Krasznahorkai's epic novel Satantango took over seven years to realize. The film, a 415-minute masterpiece, finally appeared to international acclaim in 1994. ~ Jason Ankeny, All Movie Guide [Answers.com]

"Elaborately staged and intricately orchestrated, Tarr's worlds are inhabited by isolated communities and characters poetically depicted in long takes and slow camera movements that express a sense of time and place - as well as identification with character - that is inimitably cinematic. Bleak, mysterious, and not without a certain gallows humor, Tarr's cinema compels our attention. Even as constant rainfall and the seemingly inevitable paths to violence horrify us, Tarr's camera, seeking order and resisting the chaos it encounters, achieves unforgettable magic and grace." - Harvard Film Archieve | Melanchholy Resistance: The Rainy World of László Krasznahorkai and Béla Tarr



Bela Tarr Interview from the 12th Sarajevo Film Festival.

7 Bela Tarr Interviews (RealOne Player)   1 | 2 | 3 | 4 | 5 | 6 | 7

TOKYO FILMEX: Special Invitation Films:
. Blackboards directed by Samira Makhmalbaf
. The Circle directed by Jafar Panahi
. Werckmeister Harmonies directed by Bela Tarr



MIHALY VIG Film Music from the Films of Bela Tarr (Periferic) $21.99 CD

[ "Kortanc I" | "Valuska" ]

"... it isn't necessary to have already seen the films of Hungarian auteur Bela Tarr to enjoy this incredibly rich CD. It is enough that it happens to be beautiful, varied, original, distinctly Eastern European, and yet strangely universal at the same time. Much like the films actually, that this music was created to accompany. Bela Tarr...worked with his composer Mihaly Vig since 1983, and the CD at hand is comprised of the scores he wrote for the movies Almanac of Fall, Damnation, Satantango, and Werkmeister Harmonies.

Tarr has stated that he uses music, along with time, as a main character in his films. And while the films aren't ever saturated with music per se, the role it plays is highly prominent and one of the key elements in what makes his movies so highly memorable... In the films of Bela Tarr, there is often a sense of impending doom, collapse, and disintegration. And yet I've read that Tarr himself actually considers his films to be hopeful, in the same sense that Chekhov is. I hadn't quite understood what he meant until listening to this CD over and over again, when I realized that most of the pieces here, even at their darkest, are almost entirely lacking uneasiness. It is as if they were created in counterpoint to the dread inherent in the human condition..." [MK] - The Other Music [212.477.8150]

Chicago Reader critic, Jonathan Rosenbaum, calls Béla Tarr a "master stylist."

 

 

FILMOGRAPHY:

 

  1. HOTEL MAGNEZIT   (1978)

    • Directed by Béla Tarr
    • Cast:
    • Nationality: Hungarian.
    • Runtime:

    • LINKS:

     

     

  2. FAMILY NEST aka Családi tüzfészek   (1979)

    • Directed by Béla Tarr
    • Cast: Gyorgy Cserhalmi, Erzsebet Kutvolgyi, Ferenc Bencze
    • Nationality: Hungarian.
    • Runtime : 1h 12min.

     

     

  3. THE OUTSIDER aka Szabadgyalog   (1981)

    • Directed by Béla Tarr
    • Cast:
    • Nationality: Hungarian.
    • Runtime:

    • LINKS:

     

     

  4. MACBETH   (1981/82)

    • Directed by Bela Tarr
    • Cast:
    • Nationality: Hungarian.
    • Runtime:
    • For TV

    • LINKS:

     

     

  5. The PREFAB PEOPLE aka Panelkapcsolat   (1982)

    • Director: Béla Tarr
    • Cast: Judit Pogˆny, Róbert Koltai, László Sinkó (II), János Fábián, Józsefné Sothó
    • Format: black/white
    • Language Hungarian
    • Studio: Facets (US)
    • Running time: 82 minutes

     

     

  6. ALMANAC OF FALL aka Öszi almanach   (1984)

    • Director: Béla Tarr
    • Screenwriter: Béla Tarr
    • Cast: Hedi Temessy, Miklos B. Szekely, Erika Bodnar, Pal Hetenyi
    • Cinematographers: Buda Gulyas, Sandor Kardos, Ferenc Papp
    • Art Director: Agnes Hranitzky
    • Editor: Agnes Hranitzky
    • Production designer: Agnes Hranitzky
    • Composer: Mihaly Vig
    • Format:
    • Language Hungarian
    • Studio:
    • Run Time: 122 mins.

     

     

     
     
     

  7. DAMNATION aka Kárhozat   (1988)

    • Director: Béla Tarr
    • Cast: Miklos B. Szekely, Vali Kerekes, Gyula Pauer, Hedi Temessy, Gy-rgy Cserhalmi
    • Producer: Joszef Marx
    • Screenwriter: Béla Tarr   from short story by László Krasznahorkai
    • Cinematographer: G-bor Medvigy
    • Composer (Music Score): Mihály Vig
    • Editor: Ágnes Hranitzky
    • Set Designer: Gyula Pauer
    • Costume Designer: Gyula Pauer
    • Sound/Sound Designer: Peter Laczkovich
    • Screen Formats: B&W, WSE
    • Sound:Dolby Digital Stereo
    • Studio: Facets
    • Running Time: 122 min.
    • Languages: Hungarian (subtitles: English)
    • Features: Facets Cine-Notes collectible booklet
    • Chapters:
      1. Opening Credits [:45]
      2. Spurned Lover [13:32]
      3. Titanik Bar [14:27]
      4. Philosophies [12:45]
      5. Assignations [10:48]
      6. Love and Madness [15:58]
      7. How to Go On [12:25]
      8. Dancing [22:10]
      9. A Fatal Attack [9:06]
      10. End Credits [2:33]

    Synopsis: "In a small Hungarian town lives Karrer, a listless and brooding man who has almost completely withdrawn from the world but for an obsession for the singer in the bar that he frequents. Tarr's immaculately photographed and composed film is about eternal conflict: the centuries old struggle between barbarism and civilization." - [DVD Beaver]

    "...The Tarr/Krasznahorkai films are never far from the threats of apocalypse and damnation, but it is also clear that they offer no easy interpretation. On the other hand, it is evident that their ambiguity is designed to force an interpretative effortãthe audience is intended to enter into a partnership not as a means of decoding a secret meaning but as a means of exploring reality. It would be a mistake to view his work in the same light as a Tarkovsky or a Sokurovãhe really does want us to re-see and re-experience the world in both social and perceptual terms. The revolutionary quality of the films rests in the fact that these objectives are seen as part of a single project." - Peter Hames

    "DAMNATION is the ultimate film-noir, a deeply existential rumination on the miserableness of existence and the search for a meaning or a means of escape." - Susan Sontag

     

    film scores
    by
    Víg Mihály
    for
    DAMNATION

    "Eso"

     

     

  8. CITY OF LIFE aka Utolsó hajó   (1990)

    • Directed by Béla Tarr
    • Cast:
    • Nationality: Hungarian.
    • Runtime:

    • LINKS:

     

     

     
     
     
     
     
     
     

  9. SATAN'S TANGO aka SÁTÁNTANGÓ   (1994)

    • Director: Bela Tarr
    • Actors: Mihaly Vig, P. Horvath, Laszlo Lugossy, Eva Almassy Albert, Janos Derzsi, Iren Szajki, Alfred Jarai, Miklos B. Szekely, Erzsebet Gaal, Erika Bok, Peter Berling, Gyorgy Barkó (principal), András Bodnár (Sanyi Horgos), Ilona Bojár (Mme Horgos), Peter Dobai, István Juhász, Zoltan Kamondi, Barna Mihok.
    • Producers: Gyorgy Feher, Ruth Waldburger, Joachim Von Vietinghoff
    • Production companies:
      Mafilm Objektiv Studio, Hungaria
      Vega Film Productions, Switzerland
      Von Vietinghoff Filmproduktion, Germany
    • Scriptwriter: Bela Tarr, László Krasznahorkai
        from a novel by László Krasznahorkai
    • Director of photography: Gabor Medvigy
    • Composer: Mihaly Vig
    • Editor: Agnes Hranitzky
    • Costumer: János Breckl, Gyula Pauer

    Synopsis: This European epic is seven hours long. It is adapted from a novel by Laszlo Karsznahorkai and reflects the obsession of director Béla Tarr who began the film seven years ago. It took two full years to film this opus. The story is presented through a series of chapters of varying lengths with titles like "The News That They are Coming," "We, the Resurrected," "The Freeze," "Only Problems and Work." and finally "The Circle Is Completed." The enormously complex saga is centered in an abandoned farm machinery plant upon a Hungarian plain. There live a small band of hobos including three couples, a doctor with a drinking problem. All of them want to leave and they will do anything they can to do it. A set series of events occurs, but the story presents those events from each of the different character's viewpoints. The film ends on an ironic note. ~ Sandra Brennan, All Movie Guide - [GreenCine]

    In the ashes of the Communist utopia in Hungary, a group of lost souls from a collective farm choose to follow a new messiah towards an uncertain future. In the endless rain and mud they work out their salvation in a series of encounters that Tarr's camera covers in long complex shots...which reveals the emptiness and the futility of their shabby existence.

    "Devastating, enthralling for every minute of its seven hours. I'd be glad to see it every year for the rest of my life." - Susan Sontag

     

     

     

  10. JOURNEY ON THE PLAIN aka Utazás az alföldön   (1995)

    • Directed by Béla Tarr
    • Cast:
    • Nationality: Hungarian.
    • Runtime:

    • LINKS:

     

     

     
     
     
     
     
     

  11. WERCHMEISTER HARMONIES aka Werckmeister harmóniák   (2000)

    • Directors: Bela Tarr, Agnes Hranitzky
    • Actors: Peter Fritz (Uncle Gyorgy), Lars Rudolph (Janos), Hanna Schygulla (Aunt Tunde), Janos Derzsi, Djoko Rosic, Tamas Wichmann, Ferenc Kallai
    • Producers: Franz Goess, Paul Saadoun, Miklos Szita, Joachim Von Vietinghoff
    • Production companies:
      Arte France cinéma, France
      Zweites Deutsches Fernsehen (ZDF), Germany
      Rai Tre, Italy
      Studio Babelsberg, Germany
      Magyar Televizio, Italy
      Eurimages (Fonds du Conseil de l'Europe), France
    • Scriptwriters: Bela Tarr, Laszlo Krasznahorkai
    • Director of photography: Miklos Gurban, Erwin Lanzensberger, Gabor Medvigy, Emil Novak, Rob Tregenza, Patrick de Ranter
    • Composer/Music: Víg Mihály
    • Editor: Agnes Hranitzky
    • Nationality: German, Italian, French, Hungarian.
    • Studio: Facets
    • Runtime: 2h 25min. (145 min.)
    • Languages: Hungarian (subtitles: English)
    • Screen Formats: WSE, B&W
    • Sound: PCM stereo
    • Features: Facets Cine-Notes collectible booklet
    • Chapters:
      1. Opening Credits [1:10]
      2. Explaining the Eclipse [10:50]
      3. The Prince & the Whale [18:03]
      4. Werckmeister Harmonies [5:38]
      5. Visiting the Whale [10:20]
      6. Tunde [10:45]
      7. Blackmail [16:01]
      8. Tunde & the Police Chief [1:35]
      9. Unrest [8:41]
      10. The Mob Attacks [19:16]
      11. Post-Apolcalypse [10:39]
      12. Nothing Counts [14:36]
      13. End Credits [8:40]

    "In a nameless, frozen, Eastern European village cloaked in fog, Janos (Lars Rudolph) choreographs three grizzly drunks in a pantomime of the earth circling the sun and the moon circling the earth. He freezes his actors and describes a total eclipse of the sun; the world grinds to a halt in momentary fear until the warmth of the sun again blankets the earth. On his errands in the wintry wee hours, he hears his neighbors worry about the severe coal shortage, the disappearance of entire families, and the impending riot. He watches as a truck lumbers into town, pulling an enormous corrugated shed behind it. Inside is a stuffed whale. The most gigantic ever seen. A sign says that a Prince accompanies the whale. Janos goes to visit Uncle Gyorgy (Peter Fitz), a musicologist determined to prove that the order imposed on sound by the Werckmeister Harmonies is false and only sonic chaos and disorder is truth. Weary and hungry, Janos finally makes it home when Aunt Tunde (Hanna Schygulla) arrives, threatening to move back in with Gyorgy if Janos does not convince him to use his influence to help her start her 'clean town movement.' It's simply exquisite." - Newegg.com

     

    FD & MLC: "What's your interpretation of the Prince character? What does he signify?"

    BT: "I don't know. I haven't seen him. I have only seen his shadow. That's all, what you too have seen. The same. You know, I don't like to explain anything about the story. You have seen it half an hour ago."

    From: Waiting For The Prince - an interview with Béla Tarr by Fergus Daly and Maximilian Le Cain, senses of cinemna.
    Image at top of page from: stalker

     

     

     

      prologue

  12. VISIONS FOR EUROPE aka Europaische Visionen   (2004)

    • full cast and crew
    • Runtime: 140 min / Canada:139 min
    • Countries: Austria / Belgium / Cyprus / Czech Republic / Denmark / Estonia / Finland / France / Germany / Greece / Hungary / Ireland / Italy / Latvia / Lithuania / Luxembourg / Malta / Netherlands / Poland / Portugal / Slovakia / Slovenia / Spain / Sweden / UK
    • Language: Danish / German / Portuguese / Slovak / Swedish / English / Greek / Italian / Lithuanian / Polish / Dutch / French / Letzebuergesh / Slovenian / Turkish / Czech / Finnish / Spanish / Maltese
    • Color and Black and White

    • segment "Prologue"   (Hungary)
        . 5' minutes
        . A TT Filmmuhely production
        . Produced by Teni Gabor
        . Directed by Bela Tarr and Agnes Hranitzky
        . Screenplay by Bela Tarr
        . Camera (B&W), Robby Mueller
        . Music by Víg Mihály

    Synopsis: Hundreds of homeless people line up along a street. At the top of the queue, a kind woman hands out a hot drink and a bag with two bread rolls to each person. She logs every new beggar on a list. Mostra BR

    "This film tells us that each human being has a life, that each human being has a face, a critical look and a name that are inalienable - that each human being has a dignity. We must try to protect this dignity. Should anyone be deprived of it, we must try to conquer it back for them. This film is about human dignity, it shows humiliated, offended people, it is a film from Hungary." [Béla Tarr]
    Rencontres internationales de cinema á Paris 2004

    "Twenty-five short films helmed by such established European directors like Bela Tarr, Peter Greenaway and Aki Kaurismaki, as well as many promising up-and-comers, constitute this omnibus that represents filmmaking from every country in the European Union. Commissioned by Lars von Trier's Zentropa Entertainment, the filmmakers were asked to contribute 'a personal vision of current or future life' in the EU in a film not longer than five minutes. The resulting works convey both a unique vision of life in each filmmaker's country, filmmakers' respective countries and an overall mosaic of the present-day European Union. - [AFI]

     

     

     

     

  13. THE MAN FROM LONDON   (2007)   pre-production

    • Directed by Bela Tarr
    • Cast: Tilda Swinton, Miroslav Krobot, Leah Williams, Janos Deerzse, Istvan Lenart.
    • Screenplay by Bela Tarr & László Krasznahorkai
    • from the novel by Georges Simenon
    • Cinematography: Fred Kelemen

    The Man From London (Londoni férfi) is based on the novel by Belgian writer, Georges Simenon and was adapted by Béla Tarr and his collaborator, László Krasznahorkai. It is a story about a man who witnesses a murder (mystery); it is deeply existential. The international co-production between France, Hungary, and Germany stars British actress Tilda Swinton, Czech actor Miroslav Krobot and Hungarian actors.

    The suicide of French producer Humbert Balsan derailed the picture and turned the project into a Euro nightmare. "The film's production has been a journey in and of itself similar to a noir story, with threats to shut down the production, lack of financing, and ultimately a return to work. It is aimed to be premiered at the Cannes Film Festival in 2007." - Wilipedia

    See press release about the current (Feb. 08, 2006) situation of B7eacute;la Tarr's and Gábor Téni's international coproduction project The Man from London.

    Tarr's eight's feature film might be a little different from his most well-known works... but those who like hypnotic meditation through long takes in black and white shouldn't worry: although the film A londoni férfi (The Man from London) is an adaptation of a Georges Simenon novel, the screenplay was written by the usual suspects: László Krasznahorkai and Tarr himself.

    This big budget French-German-Hungarian co-production is a "Euro nightmare", as Variety once described it: the crew started filming in early 2005, but producer Humbert Balsan committed suicide, and the French bank froze the disbursement. Tarr was able to shoot nine days on the sets in Corsica he had built for Euro 2 million. Reorganising the project took almost a year (the budget was cut back to Eurp 4,3 million), but production was finally able to continue this year. Tarr's leading actor is Czech stage director Miroslav Krobot, while British actress Tilda Swinton plays the female lead (she once described the director as "a sort of Tarkovsky of his day"). The world premiere might take place at Cannes [2007]. - european-films.net

     

     

     

  • LINKS:


  • FILM CLIPS:


     

    miscel.articles

    TOP

     

     

     

     

     

     

     

           

    Andrei Tarkovsky   (1932-1986)



    SCENE FROM "STALKER" 1979

     

    Director - Filmography:

    •   Ivan's Childhood (1962)
    •   Andrei Rublev (1969)
    •   Solaris (1972)
    •   Zerkalo (The Mirror) (1975)
    •   Stalker (1979)
    •   Tempo di viaggio (1983)
    •   Nostalghia (1983)
    •   Offret - (The Sacrifice) (1986)

    LINKS:

     

    TOP

     

     

     

     

     

     

     

    Vlatko Gilic   (Podgorica, Montenegro, Yugoslavia 1935)

    Yugoslavian/Serbian film director, screenwriter, production designer

    Lives and works in Belgrade and Podgorica

     

    "It is only when we discover the invisible links between the various external and internal aspects of a painting that we understand the nature of creative process." - from: Beyond The Gates of the Visible by Vlatko Gilic

     

    "...Mr. Gilic's (early) films are called documentaries. But he's superb at finding the astonishing images that lurk in the ordinary world. It's as if he'd nabbed some magic from the air and wedded it to facts. And it's a privilege to see through his eyes: Whatever interests him assumes a contagious excitement for us. It's evident that a major talent is already well developed, and since Mr. Gilic is in his mid-30's, we have a lot to look forward to." Nora Sayre,, New York Times, 01-18-1974

    Vlatko Gilic and Sanja Ivekovic both started working with film and video in the 70s and are widely known internationally. Both artists' works are politically engaged, but not in a "battle against the darkness of Communist totalitarianism," but, paradoxically, in a way that took socialist ideology more seriously than the cynical political elite ever did, fighting for complete self-realization of individuals and culture and against bureaucratic limitations.

    Sanja Ivekovic was born in 1949 and lives and works in Zagreb. The first artist in communist Yugoslavia to take a clear feminist position, he directed Personal Cuts in 1981.

    "Mr. Gilic's films are called documentaries. But he's superb at finding the astonishing images that lurk in the ordinary world. It's as if he'd nabbed some magic from the air and wedded it to facts. And it's a privilege to see through his eyes: Whatever interests him assumes a contagious excitement for us. It's evident that a major talent is already well developed and since Mr. Gilic is in his mid-30's, we have a lot to look forward to." - Nora Sayre: New York Times, January 18, 1974

     

    SHORT & DOCUMENTARY FILMS:

    1966   Mala svetlost [11 min.]

    1967   Povratak na rodno drvo [13 min.]

    1969   Homo Sapiens [11 min.]

    1970   Homo Hormini [8 min.]

    1970   Zategni dele [15 min. b&w]

    1970   Continue, Il

    1971   In Continuo [slaughter house, 12 min. color, nominated for an Oscar]

    In Continuo: A documentary on a slaughter house. The images of blood and water which are used-no beast is shown, no killing is actually portrayed-reveal unforgettable the source of our daily meat.
    Phoenix Learning Group,
    2349 Chaffee Dr.
    St. Louis, MO 63146,
    Phone: (314)569-0211, Toll-free: 800-221-1274
    URL: http://www.phoenixlearninggroup.com
    Available on VHS, 3/4U - Color. Running time 12 minutes.

    source

    "Moisture makes dried blood flow again: there's a shock in that discovery as a hand scrubs the stained walls of a slaughterhouse, where men in white aprons prepare for the day's killing..."

    "Within the slaughterhouse, the preparations are quite ritualistic, as the men carefully wash the floor and sharpen knives that aren't intended for carving cooked meat-but for cutting into live flesh. Suspense builds up to the carnage that we know will come. The animals' slaughter isn't shown; instead, thick blood oozes and swirls toward the gutters, and the evocation is more powerful than seeing the act itself. The men's serious, intent faces imply that there are no jokes on this job. At first, they seem like soldiers getting ready for battle and later, as though they're in the middle of a war." - Nora Sayre

    1972   Tok [10 min. color]

    1972   Dan vise [12 min. color]

    1972   Juda [man surrounded by snakes, 11 min.]

    1972   One Day More [bathers in mud, 10 min.]

    "...an eerie documentation of swarms of villagers wallowing in the mud and waters of a pond, presumably seeking cures for their ills. It is a fragmentary report, but its somber mood and ritualistic overtones are sharp and arresting ..." - A. H. Weiler: N.Y. Times Review, November 11, 1972

    "...centers on a murky stream outside a small Yugoslav town, where the mudbaths are said to cure even deadly diseases. Old and young sink to their chins in the dark liquid, some rub parts of their bodies with jetty slime. Heads seem to float on the water, while mist rises in a shot that Fellini might envy. The atmosphere is dense with concentration and bleak hope. You feel that these people are terribly worried and fearful about their bodies. They wait as though for a miracle. Finally, they shower, cheer up and chat noisily - in contrast to the anguished hush that held while they were in the stream." - Nora Sayre

    1973   Power [34 minutes]

    "...hypnotist giving his disciples - six young men with ultra-white skin and dead black hair - a lesson in dominating the will of others... He slides a giant black needle through both his cheeks without apparent pain; they do the same, but some can't help wincing. A hand moves in front of eyes that look momentarily terrified... The portrayal of the master's control of his followers is repellent - as it's obviously meant to be..." - Nora Sayre

    Power (1973) The power of man's mind to control absolutely both other men and himself is the subject of this documentary, which captures the essence of the hypnotist's terrifying skill.
    Phoenix Learning Group, 2349 Chaffee Dr., St. Louis, MO 63146, Phone: (314)569-0211, Toll-free: 800-221-1274, Fax: (314)569-2834
    URL: http://www.phoenixlearninggroup.com
    Available on VHS, 3/4U - Color. Running time 34 minutes.

    source

    1973   Moc [28 min. color]

    1973   Ljubav aka To Love [23 minutes]

    Ljubav (Liebe), 23 Minuten, von Vlatko Gilic (Jugoslawien, 1972) Der Film fasziniert durch seine besonders ruhigen Einstellungen, dem daraus resultierenden Rhythmus der Bilder, durch die Strenge seines Aufbaues und eine fast architektonische Bildkomposition. In den stilisiert dargestellten Beziehungen zwischen dem Bruckenarbeiter und seiner Frau versucht der Film wortlos den Widerspruch zwischen den Erfordernissen der modernen Arbeitswelt und familiuren Bindungen darzustellen. Dabei uberbruckt die gemeinsame Vesper zeichenhaft die Trennung, ohne zugleich eine Losung des gestellten Problems aufzuzeigen.
    Translation from German to English: Ljubav (love), 23 minutes, of Vlatko Gilic (Yugoslavia, 1972) the film fascinates by its particularly calm attitudes, the rhythm of the pictures resulting from it, by the severity of its structure and a nearly architectural picture composition. In represented relations between the bridge worker and its wife tries the film stylizes wordless the contradiction between the requirements of the modern working sphere and family connections to represent. The common Vesper uberbruckt indicationful the separation, without pointing a password out of the problem posed at the same time. (Yahoo Babel Fish)

    "This film begins with a piece of machinery slowly moving in space: You can't tell what it is, but it's fascinating to watch it reach its destination... One of the construction workers climbs to the ground, where his wife waits with a picnic... Affection surges through brief gestures: She pats his knee, he pushes a strand of hair out of her eyes while she beams at him. Mainly, they gaze at each other and eat, and that simple act reveals an extraordinary sense of intimacy." - Nora Sayre

     

    FEATURE FILMS:

    1977   Kicma / The Spine / Backbone [drama, 91 minutes, color]

    Synopsis: A group of tall apartment houses, similar to fortresses, is surounded with smog one night, causing panic among the tenants. Common danger reveals wasted interpesonal relationships, selfishness, lack of love and returns the sense for universal meaning of human existence to a man, developing sense for humanism and compassion for another human being.
    Additional information: Branko Ivatovic cooperated on shooting the movie. Milovan Radovanovic cooperated on scenography. Leposava Aleksic cooperated on film edidting.

    1980   Dani od snova / Day of Dreams [drama, 106 minutes, color]

    Synopsis In the ambient of wide, sun-burnt fields, a young girl spends her summer vacation keeping a flock of sheep. It seems impossible that anything will change the slow rhythm of everyday's life and her solitude. From the near airport, planes are flying over the field in which she is keeping her flock. One of them separates. The pilot of that plane and the girl start youthful and spontaneous game. The place where the girl has found her peace soon becomes the place of search for true love. But, maybe this is just a dream.

    source

    Description: Year: 1980. Movie Synopsys: In an enviroment of endless space, a blazing field and sky, the young girl Jelena spends her summer vacations looking after a flock of sheep. It seems impossible that anything could change her state of loneliness. Planes from a nearby airport fly over Jelena's field. One of them separates from the rest. The pilot and Jelena start a true youthful and spontaneous game. The place where Jelena found her peace now becomes a place for the search for complete love. The experience of the feel of touch illiminates the possibility that all this could have been but a dream.
    Actors: Vladica Milosavljevic, Boris Komnenic, Ljiljana Krstic
    Format: PAL - Customers who do not have the PAL system in their countries, MUST have a multi system VCR.

    source

     



    picture source

     

    LINKS:

    • Beyond the Gates of the Visible by Vlatko Gilic for exhibition
      catalogue of drawings by Sasa Pancic at Zvono Gallery, 1998
    • New York Times: Vlatko Gilic - filmography
    • IMDb: Vlatko Gilic
    • 1977-es cannes-9 filmfesztivál
    • Urbán András: student of Vlatko Gilic
    • E-Flux: The Balkans Trilogy
    • Artikulacija Production & Advertising

      1. Film "A View from the Eiffel Tower" was made by adaptation of a popular ex-Yugoslav novel "Zagrepcanka" ("The girl from Zagreb"), published in 1975., by famous Croatian author Branislav Glumac.
      2. This is one of the first film project in Republic of Montenegro after 15 years, and first independent film produced in Republic of Montenegro EVER!
      3. This is also the first official film co-production in the countries that in the nineties of XX ct. waged war against each other (Yugoslavia, Croatia, Slovenia).
      4. Artikulacija Production & Advertising:
        This film is first film of Nikola Vukcevic - one of the best students of famous Yugoslav prohibited author - film director Vlatko Gilic (Cannes film festival: "DANI OD SNOVA" - 1980, "KICMA" - 1977, "MOC" - 1973)

        Vlatko Gilic - got the awards in Oberhausen, Berlin, was nominated for Oscar and Golden Globe - in the category of the best foreign film etc. He was prohibited by Yugoslav communists during the 80's of XX ct., and by Slobodan Milosevic during the 90's of XX ct, and he became University professor at Academy of Arts Novi Sad, at department of Film Direction, as Main professor. More informations at www.imdb.com, search: Vlatko Gilic

    • HFS: Home

    •   .       Intro: Saving Croatian Cinemas
        . Movies
          . . QTmovie by Simon Bogojevi
    • /www.gis.net/~scatt/cinema/dvd_video_collection.html#Gilic
    • LICE U STENI, PREMIJERNO
      Diplomski film Marka Kacanskog "Lice u steni" premijerno se prikazuje danas u Kulturnom centru grada. Kacanski je jesenas diplomirao reziju na novosadskoj Akademiji umetnosti u klasi Vlatka Gilica. Film traje 52 minuta, a snimljen je pre dve godine na Petrovaradinskoj tvrdjavi u produkciji Akademije umetnosti i Kino kluba Novi Sad. "Glavni junak je 24-godisnji Nemanja koji dobija posao snimatelja arheoloskih iskopavanja na Tvrdjavi. Ljudi i predmeti koje snima upucuju ga u duboke lavirinte pod utvrdjenjem gde otkriva misteriozne stvari koje nisu ovozemaljske". Snimatelj Sinisa Ponjevic kaze da je zanimljivo iskustvo raditi po vlaznim petrovaradinskim katakombama, uz minimalnu tehnicku opremu. Snimanje je delimicno pomogao Pokrajinski sekretarijat za kulturu, dok je gradska uprava odbacila sve projekte Kino kluba, medju kojima je i ovaj film. Film "Lice u steni" mozete premijerno pogledati u 19:30 u Velikoj sali Kulturnog centra. Nakon projekcije u Novom Sadu predvidjeno je da film putuje na strane i domace festivale. (021)
    • SNF Cultural Department
      Serbian Film Production

      "...In the mid-sixties, Aleksandar Petrovic introduced a full intimistic approach to and structure of films. Authors also began to make socially involved documentary films, dealing through global metaphors with many anomalies occurring in the society, which particularly applies to films such as First Case a Man (Prvi padez covek), Soldier Dismissed (Ratnice voljno) and others directed by Krsto Skanata. Because of that, the next generation did not take reality as an obstruction to artistic truth, on the basis of which the so-called "Belgrade documentary film school" was already formed. The films made by Stjepan Zaninovic, Mica Milosevic and particularly Predrag Golubovic expanded the thematic frames of documentary films through an authentic film expression. Novi Sad also became a major documentary film centre, thanks to such fine authors as Zelimir Zilnik and Branko Milosevic, who were subsequently joined by Miroslav Jokic, Prvoslav Marie, Karolj Vicek, Miroslav Antic and others. In placing an emphasis on sound and picture, they were making parodies through showing the occurrences around them in quite a new light. In the seventies, the new authors, such as Zivko Nikolic, who tended to vary the topics through his documentary films, or Vlatko Gilic, who insisted on the individual expression and deviation from the arranging of frames like in his best-known documentary, Love (Ljubav), were joined by the students of the Belgrade Faculty of Dramatic Arts Jovan Jovanovic, Dejan Burkovic and others..."

     

     

    TOP

     

     

     

     

     

     

     

    Krzysztof Kieslowski   (Poland, 1941-1996)

     

    photo

     

    Selected Filmography: [more]

    •   The Scar (1976)
    •   Camera Buff (1979)
    •   Blind Chance (1981)
    •   No End (1985)
    •   Decalogue (1987-88)
        . I Am the Lord Thy God
        . Thou Shalt Not Take the Name of ... in Vain
        . Honor the Sabbath Day
        . Honor Thy Father and Thy Mother
        . Thou Shalt Not Kill
        . Thou Shalt Not Commit Adultery
        . Thou Shalt Not Steal
        . Thou Shalt Not Bear False Witness
        . Thou Shalt Not Covet Thy Neighbor's Wife
        . Thou Shalt Not Covet Thy Neighbor's Goods
    •   Short Film About Killing (1988)
    •   Short Film About Love (1988)
    •   The Double Life of Veronique (1991)   (trailer)
    •   Three Colors: (1991)
        . Blue   (trailer)
        . White   (trailer)
        . Red

    LINKS:

     

    TOP

     

     

     

     

     

     

     

     

     

    Luís Buñuel   (Spain, 1900-1983)

     

    "Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether." Luis Bunuel

     

    photo

    ENTER HERE

     

    Un Chien Andalou (1929)
    Director: Luís Buñuel
    Producer: Salvador Dalí and Luís Buñuel
    approx. 16 minutes, silent, b/w

    QUICKTIME MOVIE CLIP
    or
    PLAY THE MOVIE (QuickTime 98MB)

     

    Selected Filmography:

    •   Un chien andalou (1929, France)   [QT clip]
    •   L'Age d'or (1930, France)
    •   Los Olvidados (1950, Mexico)
    •   Él ()1952, Mexico
    •   Illusion Travels by Street Car (1953, Mexico)
    •   Criminal Life of Archibaldo de la Cruz (1955, Mexico)
    •   Nazarin (1958, Mexico)
    •   Viridiana (1961, Spain)
    •   El Angel exterminador (1962, Mexico)
    •   Le Journal d'une femme de chambre (1964, France)
    •   Belle de Jour (1967, France)
    •   La Voie lactee (1969, France)
    •   Tristana (1970, Spain)
    •   Le Charme Discret de la Bourgeoisie (1972, France)
    •   Le Fantome de la liberte (1974)
    •   Cet Obscur Objet du Desir (1977)

    LINKS:

     

    TOP

     

     

    Un chien andalou
    at
    LIKETELEVISION ...ONLY BETTER

     

     

     

     

     

     

     

     



    Víctor Erice   (Carranza, 1940)

     

    "Sometimes very beautiful things are born out of fragility."

    Born on June 30, 1940, Karrantza, Vizcaya, País Vasco, Spain. Lawyer in Political Rights and Economic Sciences, studied film at the Escuela Oficial de Cinematografia, Madrid in 1963. Critic of cinema in publications like Notebooks of Art and Thought and Our Cinema magazine. Directed the 3rd segment of The Challenges in 1969. The Spirit of the Beehive (1973), Erice's first full-length film, "encapsulates the frustration, uncertainty, and confusion of children attempting to reconcile with the sense of isolation inherent in their emotionally detached parents and insular community." Ten years later he directed The South (1983) , which depicts the complex relationship of a father and daughter in the sad world of the Forties and the process of demystification and self-discovery the young dauther experiences in her quest to learn more about her idolized father. Erice directed The Quince Tree Sun aka Dream of Light, his masterpiece and winner of the International Critics' Prize in Cannes, in 1992.




    An Open Window, edited by Linda C. Ehrlic
    Hardcover: 336 pages, Scarecrow Press; 2000
    ISBN: 0810837668. Amazon.com $47.00
    The first book in English exclusively devoted to an analysis of the films of Víctor Erice. Drawn from original essays, reprints, and new translations from an international group of writers and an extensive interview with the director in which he talks about the strategies and philosophies behind the making of his films. Translations of three of his writings on early cinema follow.

     

     

      •   THE CHALLENGES (1969) segment   •  

     

     

      •   THE SPIRIT OF THE BEEHIVE (1973)   •  



    clip from
    El sepiritu de la colmena (1973)
    by Victor Erice
    "...The Spirit of the Beehive is a visually poetic, haunting, and allegorical film on innocence, illusion, and isolation. Victor Erice uses the recurrent imagery of the beehive to create a pervasive sense of claustrophobia and geographic disconnection: the honeycomb structure of the stain glass windows through the house; the amber glow of the oil lamps and candles; the pervasive haze of the darkness of winter. Filmed in 1973 under the Franco regime, The Spirit of the Beehive is a deceptively lyrical tale of idyllic childhood memories and a disturbing portrait of isolation. Like the bees in Fernando's experiments, the children are also unwitting subjects of an unnatural, artificial environment. In essence, Ana's misguided actions mirror the illogical behavior of the disoriented bees attempting to adapt to an inorganic crystal beehive. Isolated from a natural environment, Ana, too, lacks a logical frame of reference. Her attempts to incarnate the spirit of the monster is a naive attempt to reconcile her own confusion. But inevitably, her quest leads further into the darkness - to more incomprehensible revelations - to deeper questions." - strictly film school

     

     

      •   THE SOUTH (1983)   •  
    sur
    "...Based on the novel by Adelaida García Morales, El Sur (The South) is a deceptively lyrical and delicately realized, yet haunting portrait of maturation, estrangement, alienation, and dislocation. Victor Erice achieves an atmosphere that is both naturalistic and mystical by shooting in natural light to visually reinforce hues and gradations that, in turn, reflect Estrella's gradual perceptional shift towards her father..." - more at strictly film school

     

     

      •   THE DREAM OF LIGHT (1992)   •  



    CLIP from
    El Sol del Membrillo aka The Dream of Light (1992)
    by Víctor Erice with Antonio Lopez-Garcia
    "In The Dream of Light the celebrated director of Spirit of the Beehive, Víctor Erice, achieves the miraculous; a direct look into how an artist creates. Antonio Lopez Garcia is Spain's leading painter who, for several weeks one autumn, tries to paint the sun filtering through the leaves of a quince tree. Erice documents this process. His observations are 'elegantly restrained, at once matter-of-fact and lyrically evocative'. Erice, who has made only three films in 30 years, creates a kind of diary, a journal of an artists life and work and a film about creation and life itself. The film is both comical and poetic; a remarkable, beautiful journey full of nuance - it is as if the person watching the film were given the privilege of watching God create the world." - DVDbeaver review


    "A quiet, meticulous and supremely simple film which concentrates exclusively on the process whereby a painter, Antonio Lopez Garcia, works on a still life of a quince tree. Mr. Erice's method is modest, yet his film manages to achieve a mesmerizing intensity. The purity and breadth of this meticulous study are all the more gratifying in view of its unprepossessing style. A thoughtful, delicate inquiry into the essence of the artistic process and a tribute to the beauty and mutability of nature." - Janet Maslin, The New York Times

     

    antonio painting

    ANTONIO LOPEZ GARCIA PAINTING QUINCE TREE IN "EL SOL DEL MEMBRILLO"   [poster]

     

     

     

     

      •  LIFELINE (2002) segment   •  



    LIFELINE segment of "Ten Minutes Older" (2002)


    lifelineIn the dark, the cry of a new-born baby breaks the silence of the countryside on a hot summer's evening. After the hectic rush of a birth, mother and son both sleep soundly. Suddenly, a small red spot appears from the nappies of the baby. Nobody notices. The villagers are busy with their chores, children are playing games, and nature follows its unstoppable stream of life.

    Seated alone in the shadows of an attic, a boy draws the face of a watch on his left wrist. When he finishes, he puts it to his ear as if he could listen to the beat of the world around.

    Chronos, with its watchful eye, attempts to control life... but life drains away. Blood blooms across the baby's clothes as an endless rose. The child in the attic deletes from his skin the pretend watch.

    A lullaby floats in the air? not now my son, not now...! The echo of History printed on the pages of a useless newspaper is fading away. As the darkness descends again, we can make out the date - Friday, June 28, 1940.


    Victor Erice

     

     

    FILMOGRAPHY:

      I. Early short films:


      II. Feature films:

     

    LINKS:

     

    TOP

     

     

     

     

     

     

     

     

     

     

    Ingmar Bergman   (Sweden, 1918-2007)

     



    Bergman & Sven Nykvist (© AFI)

     

    "Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster - a movement." (Ingmar Bergman, The Magical Lantern, 1987)

     

    poster

     

    ENTER HERE

     

    Selected Filmography:

     

    LINKS:

     

    TOP

     

     

    Film by Beckett

    FILM by Samuel Beckett

     

     

     

     

    PantherProUSA web page - © 2007 - updated 11-12-07

     

     

    Oreg by Víg Mihály

    Werckmeister Harmóniák, 2001
    • Bahia Music, Hungry •