Panelkapcsolat (The Prefab People) (1982)

Panelkapcsolat (The Prefab People)

TOMATOMETER

No Top Critics Tomatometer score yet...

AUDIENCE SCORE

Critic Consensus: No consensus yet.


Movie Info

Suffering from economic hardships that slowly rip apart their once harmonious relationship, a married couple (Judit Pogany and Robert Koltai) struggle to keep everything together -- yet the husband becomes increasingly passive and the wife increasingly strident as time goes by. Their difficulties are created and portrayed by the spontaneous reactions of the actors themselves, following outlines of the story rather than the memorized lines of a scripted scenario. With minimal editing and direct … More

Rating: Unrated
Genre: Art House & International, Drama
Directed By:
In Theaters:
On DVD: Jun 28, 2005
Runtime:

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Critic Reviews for Panelkapcsolat (The Prefab People)

All Critics (7) | Top Critics (2)

An unrelenting, smell-the-sour-breath portrait of a blue-collar marriage dissolving under pressure from Communist-era poverty, masculine inadequacy, and restless depression.

Full Review… | October 5, 2007
Village Voice
Top Critic

Hungarian filmmaker Bela Tarr's third feature (1982) is the best of his early forays into Cassavetes-style social realism.

Full Review… | March 4, 2003
Chicago Reader
Top Critic

...like an Eastern Bloc tribute to Britain's kitchen sink dramas.

Full Review… | March 4, 2012
Reeling Reviews

It's the rawness of the film that makes us believe we are unquestionably seeing the truth.

Full Review… | August 8, 2005
Ozus' World Movie Reviews

[S]o painfully real that it almost becomes unendurable...

Full Review… | July 3, 2005
Flick Filosopher

[It] is the best of [Tarr's] early works because it achieves such a degree of intimacy that its lack of ostentatious filmmaking never impedes its ability to observe its characters.

Full Review… | March 3, 2003
MovieMartyr.com

Audience Reviews for Panelkapcsolat (The Prefab People)

½

I don't understand Tarr's taste for redundant monologues in his early works when so much is already shown on screen, and here in this solid, unrelenting piece of cinema verité we can see that the mostly silent last scene is much more resonant and telling than the monologue that precedes it.

blacksheepboy
Carlos Magalhăes

Super Reviewer

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