Fliegauf's camera hardly ever stays still. Comparisons to his fellow countrymen, Jancso and Tarr, undoubtedly come from his impressive and very clever use of long-shots, gliding the camera around with the intent of, on the one hand, allowing the viewer to see literally everything -- things even the characters can hardly take in -- and, on the other hand, the intention of isolating the viewer despite following Brechtian aesthetics. This is a brilliant film and Fliegauf shows such a great deal of promise, vision, scope, technical skill, and a fresh aesthetic, not to mention his keen analysis of Hungary's social and cultural issues as they contribute to an almost existential erasure of individuals' subjectivities. In my opinion, I personally find Fliegauf's use of tracking shots to be more in line with Jansco's than Tarr's, although he is obviously influenced by both directors' works while pursuing an aesthetic all his own. In many ways, this aesthetic is similar -- in terms of colored filters, chiaroscuro, the use of long-shots over close-ups, not to mention shadowing and an interest in dull hues -- to many young continental European and eastern European directors working now: Sorrentino, Andersson, Ceylan, and Zvyaginstev, to mention several. Fliegauf's always-active camera, however, is much more disorienting than these other directors' films, despite narrative and cultural differences and thematic treatments, and carries Jansco's and Tarr's brilliance into a new generation of cinema with a unique vision that promises many more masterpieces to come.