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Declan 2022-03-21 09:03:01
Watching Bellatar's lens-moving lighting coders is an indescribable shock. The three-part plaza group show and the hospital cleaning that was completed in one go and stopped abruptly are simply amazing, and the whale at the end of the film is reminiscent of people. The dead fish at the end of "Sweet Life" was forgotten by the world along with people's conscience. Tarr's solemn and heavy long mirror recorded all the noise of the mortal world with...
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Casey 2022-03-21 09:03:01
1. This film is divine and dignified. 2. A long lens can give people space to think, not to mention that although there is a design, the performance is careless, or the design of the master is almost perfect, almost philosophy. 3. All the spaces in this film, such as the length, width and height of the room, the proportions of furniture, windows, etc. are all beautiful proportions, very stable and solemn, and the objects themselves have dignity. 4. Comparing people is so...
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Karl 2022-03-21 09:03:01
Try hard to read it. . . However, apart from seeing some long shots, it is no different from not seeing it. . . It made me think about what is film and what is film...
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Shakira 2022-03-21 09:03:01
Just like "Mirror" and "Once Upon a Time in Asia Minor", it was able to shock me from the very first shot, and I was caught on the seat and unable to move. Will definitely...
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Elisha 2022-03-20 09:02:37
Beratar's anarchism was explained in the context of the disintegration of the Soviet Union, but one day after the Paris attack, it was a mixed bag. After watching this film, I believe that the discussion of the film in the past 30 years is too time-oriented. Looking at the image space of this film, there is the absolute sense of indoor space like Tarkovsky, and the connection between the spaces in Wales. The sound effects of hors-champ that are connected in series and constantly overflowing the...
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Dovie 2022-03-20 09:02:37
1. Even though the laws of the celestial bodies rotate as always, seemingly eternal, they will be "suddenly interrupted", let alone the harmony of the world; 2. The light in the dark, walking, perhaps lonely, or angry; 3. Several The lens is so beautiful, immersed in it, the soundtrack is poignant and...
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Cassandre 2022-03-20 09:02:37
Four and a half stars; the eschatological fable is close to the theme of the later "Horse of Turin"; the audience lives with the eyes of a whale coldly, all ruins will eventually be rebuilt, all illusions will eventually be destroyed, all sins will eventually be punished, and all atrocities will eventually Forgiven, the world looming in the darkness and dust storm; the scheduling in the long mirror is smooth and natural, the frame almost disappears, the lighting is wonderful (look at the...
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Clemmie 2022-03-20 09:02:37
The biting black-and-white picture, perfect lighting and fine composition, close-ups, frame lines frame the picture. Long shots, only 39 shots for more than two hours, at least 10 long mirrors for mysterious dispatching and transfers look very happy and natural; light and shadow, the gradual change of the driving light of the container truck, the beam of eavesdropping eyes, and the backlighting during the course of action , The plain light after violent walking; the delivery worker, whale, eye,...
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Adeline 2022-03-20 09:02:37
Some movies are used for entertainment, while others are awe-inspiring to the art of cinema. Taal's Whale Circus is of course the latter. Only a few 30 shots were used in 140 minutes. In the use of long shots, Tal has the ambition to surpass all his predecessors, and he obviously has this ability; grim super long shots, perfect scene scheduling, deep soundtrack, full of metaphorical themes , Tal is trying to restore the essence of the...
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Doug 2022-03-19 09:01:08
There are so many metaphors and I don’t understand Hungarian history, so it’s impossible to understand it....
Werckmeister Harmonies Comments
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János Valuska: You are the sun. The sun doesn't move, this is what it does. You are the Earth. The Earth is here for a start, and then the Earth moves around the sun. And now, we'll have an explanation that simple folks like us can also understand, about immortality. All I ask is that you step with me into the boundlessness, where constancy, quietude and peace, infinite emptiness reign. And just imagine, in this infinite sonorous silence, everywhere is an impenetrable darkness. Here, we only experience general motion, and at first, we don't notice the events that we are witnessing. The brilliant light of the sun always sheds its heat and light on that side of the Earth which is just then turned towards it. And we stand here in it's brilliance. This is the moon. The moon revolves around the Earth. What is happening? We suddenly see that the disc of the moon, the disc of the moon, on the Sun's flaming sphere, makes an indentation, and this indentation, the dark shadow, grows bigger... and bigger. And as it covers more and more, slowly only a narrow crescent of the sun remains, a dazzling crescent. And at the next moment, the next moment - say that it's around one in the afternoon - a most dramatic turn of event occurs. At that moment the air suddenly turns cold. Can you feel it? The sky darkens, then goes all dark. The dogs howl, rabbits hunch down, the deer run in panic, run, stampede in fright. And in this awful, incomprehensible dusk, even the birds... the birds too are confused and go to roost. And then... Complete Silence. Everything that lives is still. Are the hills going to march off? Will heaven fall upon us? Will the Earth open under us? We don't know. We don't know, for a total eclipse has come upon us... But... but no need to fear. It's not over. For across the sun's glowing sphere, slowly, the Moon swims away. And the sun once again bursts forth, and to the Earth slowly there comes again light, and warmth again floods the Earth. Deep emotion pierces everyone. They have escaped the weight of darkness
Mr. Hagelmayer: That's enough! Out of here, you tubs of beer!
János Valuska: But Mr. Hagelmayer. It's still not over.
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György Eszter: I have to make it clear that not even for a moment is there doubt that it is not a technical but a philosophical question. So that the tonal system in question, through researches, has led us inevitably to a test of faith, in which we ask: on what do we base our belief that this harmony, the core of every masterpiece, referring to its own irrevocability, actually exists or not. From this it follows that we should speak of, not research into music, but a unique realization of non-music which for centuries has been covered up and a dreadful scandal which we should disclose. Hence the shameful situation that all the intervals in the masterpieces of many centuries are false. Which means that music and its harmony and echo, its unsurpassable enchantment is entirely based on a false foundation. Yes, we have to speak of an indisputable deception, even if those who are less sure, a little moderate, babble on about compromise. But what kind of compromise, when for the majority pure musical tonality is simply illusion, and truly pure musical intervals do not exist? Here we have to acknowledge the fact that there were ages more fortunate than ours, those of Pythagoras and Aristoxenes, when our forefathers were satisfied with the fact that their purely tuned instruments were played only in some tones, because they were not troubled by doubts, for they knew that heavenly harmonies were the province of the gods. Later, all this was not enough, unhinged arrogance wished to take possession of all the harmonies of the gods. And it was done in its own way, technicians were charged with the solution, a Praetorius, a Salinas, and finally an Andreas Werckmeister, who resolved the difficulty by dividing the octave of the harmony of the gods, the twelve half-tones, into twelve equal parts. Of two semi-tones he falsified one, instead of ten black keys, five were used and that sealed the position. We have to turn our backs on this development of tuning instruments, the so-called constant-tempered, and its sad history and bring back the naturally tuned instrument. Carefully, we have to correct Werckmeister's mistakes. We have to concern ourselves with these seven notes of the scale, but not as of the octave, but seven distinct and independent qualities like seven fraternal stars in the heavens. What we have to do then, if we are aware, is that this natural tuning has its limits and it is a somewhat worrisome limit that definitely excludes the use of certain higher signatures.
Director: Béla Tarr
Language: Hungarian,Slovak Release date: February 1, 2001