Tarr Bela: I Used to Be a Filmmaker

The works of Hungarian filmmaker Béla Tarr (who is referred to with the Hungarian protocol of putting the surname first) will never be mistaken for multiplex fare: his seven-hour-plus epic Sátántangó (1994) and the emotionally devastating Werckmeister Harmonies (2000) demand a degree of patience lacking in many filmgoers, while his popularity in the United States has been limited to aficionados of challenging art house films. For those unfamiliar with Tarr's work, French director Jean-Marc Lamoure's documentary centering on the production of Tarr's final film before retirement, The Turin Horse (2011), offers a fine introduction to the artist and his approach to cinema. In stark contrast to the bleakness and severity of his films, Tarr comes across as a charming individual who reigns over the set like a pleasant regent (insisting on a “feudal system” where democracy does not take root). Despite his authoritarian proclamations, Tarr carefully orchestrates the cast and crew in a clever manner that winds up empowering his assembled talent to their fullest as they collaborate in bringing his vision for The Turin Horse to life. The film also gives attention to Tarr's wife and co-director/editor Ágnes Hranitzky, whose input has often been underplayed in critical appreciation of Tarr's work. A solid behind-the-scenes documentary that may encourage viewers to seek out Tarr's canon, this is recommended. Aud: C, P. (P. Hall)