Öszi almanach (Almanac of Fall) (1984)
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Critic Reviews for Öszi almanach (Almanac of Fall)
The mise en scene often seems to be composed in counterpoint to the action, but the drama itself (whose Strindbergian power and sexual conflicts are realized with an intensity and concentration that suggests John Cassavetes) carries plenty of charge.
If we subscribe to the idea that the profiteering of man leads to the death of an absent God's morals, the unrest of Almanac of Fall lays down the first stones.
Throughout, Tarr seems exasperated by the capacity of each to believe that they are justified in their machinations, and in his inability to accept their individual actions, he seems to be expressing disgust and outrage at all of society.
A claustrophobic tale of an elderly mother, her son, a nurse, a lodger, and the nurse's boyfriend living in the same apartment.
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Audience Reviews for Öszi almanach (Almanac of Fall)
Bela Tarr's Almanac of Fall disposes of the stark black and white photography and the signature long takes, but hardly suffers for it as it is replaced with interesting color juxtaposition, an excellent script, and unique camera movements that showcase Tarr's mastery of framing.
The gorgeous cinematography and mise-en-scène bring to mind Tarkovsky's works, while the uncomfortable narrative is centered on a group of petty characters who manipulate one another in ways that bring to mind Fassbinder, and so the result is something quite different from Tarr's previous films.
oo existentialist, if you ask me; it was like a Bergman chamber drama, but with people speaking far too abstractly. It was more interesting at the points where it dealt in the specifics of the relationships between the characters (which are confusing). I enjoyed the use of colored lighting to separate characters, and the way it drains away at the end, leaving everyone in shades of gray. The film has an intense claustrophobia to it, but the weighty and muddled dialogue makes it hard to get into.
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