Öszi almanach (Almanac of Fall) - Movie Reviews - Rotten Tomatoes

Öszi almanach (Almanac of Fall) Reviews

Page 1 of 1
½ January 1, 2016
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.
Super Reviewer
½ June 28, 2015
The gorgeous cinematography and mise-en-scčne 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.
½ February 8, 2012
Fassbendar +�家 = like
�Best slap scene ���
Super Reviewer
September 14, 2011
Sublimely intelligent examination of close relationships and their abrupt destruction provoked by irresponsibility. Tarr's masterful gloominess and camera management helps an intoxicating aura of tension to arise and suffocate a set of defenseless characters. Mihály Vig's absorbing score is genius. What is most admirable about this film is its accuracy at stripping down those fears that only people that have deep relationships can understand, and those that are difficult to put into words.

Super Reviewer
½ April 25, 2010
I tried sitting through the whole thing but after falling asleep a couple times, I just gave up
January 28, 2010
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.
November 6, 2009
WEB-LETTERBOX. No se puede negar que está bien hecha y fascina, pero expone tanto su derrotismo que parece derivar placer de ello y resulta cansón. Tiene la virtud de contar con un cierre genial. / It cannot be denied that it is well made and fascinates, but it also exposes its defeatist attitude so much that seems to obtain pleasure from it and becomes tiresome. Has the virtue of boasting an awesome closing.
August 18, 2009
Tarr (in a rare move) expertly uses color to enhance perhaps one of the greatest examples of mis-en-scene I've ever seen.
July 23, 2009
I saw Bela Tarr's 2001 film Werckmeister Harmonies this past year at school and loved it. Since then I've gone back and started watching his earlier works, only to discover that they have a entirely different aesthetic. Instead of the long takes that populate his later works, his early pieces use, almost exclusively, intense close ups. This film appears to be the bridge between the two styles. There are still a great many closeups, but the long takes do begin to creep in.

The acting in this film is very good and the theme of suffering is handled well. I would rate the film higher but I found the ending a bit confusing. One other quip is on the stylistic side; there are an inordinate number of shots taken from outside of door frames, obscurred by objects in the foreground, under tables, or various other obstructed views. These were cleary meant to give a sense of eaves dropping on these characters and for the first couple times, it's very effective. However, by the tenth time it feels like Tarr is just beating the audience over the head with this idea. It's a small complaint but enough to lesson the overall impact of the film for me. Still, if you are interested in films that try and tackle the reality of this existential life, Tarr's work is a must. Reservations about this film aside, I still plan to continue my journey through his work.
½ May 9, 2008
After this film Tarr honed his vision and created three feature films which are some of the best in film history. This one is far from perfect and nowhere near as brilliant as Damnation, Satantango, and Werckmeister Harmonies. However, it's still worth a watch, especially if you're interested in Tarr's career.
April 26, 2008
Darkly hilarious. Relationships predicated on utilitarian needs. Reminiscent of Pinter's The Caretaker. Inspired fight scene shot through a transparent floor.
½ February 27, 2008
perfectly disappointing
January 9, 2008
interesting mainly to see BĂ©la Tarr's evolution as a filmmaker, and to see how he uses color. Other than that, this film really has little value (although there is an interesting shot from beneath the floor with two grown men fighting/wrestling on it).
½ November 15, 2007
An ugly, misogynistic bore. "Ugly" is really an inappropriate word here, but Bela Tarr's poorly written conversations make me cringe in disbelief and embarrassment. The show would be more convincing if everyone could shut up, and instead looked at each other tenderly (or menacingly). Unfortunately, the script turns everyone into a sledgehammer. Does subtlety even exist? Maybe towards the end, in the old woman's quiet monologue. If this is supposed to be social realism, then so be it. I'd rather go watch Woody Allen's September, or even Cries and Whispers. I am glad Tarr has found his style after this movie, namely, either writing nonsensical tirades of obscure allusions, or being at home with his masterful play of tracking and movement.
October 7, 2007
Four venal individuals contend for the affections/financial favours of an ageing but still powerful woman, whose tenderness for them all does not make her blind to their machinations. Gentle, intimate conversations are spiked with cruelty and manipulation so subtle they're barely noticeable at first. The camera is full of surprises, confining its characters to tight, difficult angles, or moving slowly around them for impossible perspectives and reflections. Very unusual (Francis Bacon-esque) use of colours (bright and beautiful but never garish) shows these cunning/desperate creatures in their true lights. Best movie I've seen in ages.
August 14, 2007
Not Tarr's best work.
July 31, 2007
Four lonely souls duke it out in a rundown apartment in this thrilling, incisive, and at times brutal melodrama that explores how mere suffocating proximity can drive human relationships to pieces. The impressionistic cinematography especially dazzles.
Page 1 of 1