Tarr in Turin

Since 1988's Damnation (Kárhozat) inaugurated his mature style, Béla Tarr's films have been distinguished at least as much by Kubrick-like gaps between their release as by their intrinsic artistic qualities, with just Sátántangó (1994), Werckmeister Harmonies (Werckmeister harmóniák, 2000) and The Man From London (A Londoni férfi, 2007) [...]