I like to study the couples dancing. The pair at the back are brilliant with their technique and timing but I can't manage to keep watching them due to the completely brilliant madness happening in the room! Best movie scene ever!
Mezmerizing. Especially when I watched this in the theatre at the last Berlinale festival. Bela Tarr was there, too, since it was the 25th anniversary of Satantango's premiere. He's an awesomly cool dude! :D
@@hiddenplans Before the film, there were just some introductions and announcements from Berlinale representants. There was a Q&A after the film, though. Of course, someone asked about the scene where the girl wrestles the cat. If that audience member hadn't asked, my friend who was with me would've. He had a cat back then, and that scene was really hard to watch for him. Tarr ensured the audience that that scene was the result of a long and arduous training process with that cat, which was luckily the kind that doesn't mind being moved around. It got to know the girl very well, and by the end of it, so said Tarr, the cat even seemed to understand what all those people around her were actually after. I also remember someone asking about advice for aspiring filmmakers, and one of the things he said I remember well, because it was kinda funny: "Every phone has a camera now, no? You want to make a movie? Then go out and film!" :D He wandered around among the audience during the two breaks, having little chats here and there, too. A friendly, relaxed and unpretentious man.
This is just stunning. How on earth did the actors keep going? Not to mention the accordion player. Well if you love this, check out out the accordion scene from Holy Motors, plus Denis Lavant's dance of death at the end of Claire Denis's Beau Travail. Classics all.
After watching this , the whole of it several times ocassionally i noticed that the camera is moving in two poses repeatdly , poses one is up and poses two is horizontal , by this kind of movement bela tarr wants to take us in the heart of the event by the horizontal pose, to make us feel the nihilism those characters are living and to see and feel what the little girl is seeing through the window and then bela tarr take a wide shot to the top to make you feel what does it feel to watch this as a watcher or to take a break from the horror of nihilism those characters are living or to make us feel the amount of this nihilistic horror that makes it literally hell living
If you like James Joyce's 'Ulysses', you'll like this 7hr film, guaranteed. Mesmerising film, with a mesmerising soundtrack, and after a dozen viewings, still don't get anywhere near there.
For me, the girl's face at the window is the crux of the whole film. Just heartbreaking watching what she thinks of what I thought was very entertaining music & dancing first time through.
Miei cari registi di teatro che fate improvvisare gli attori solo perché non avete idee, mi ricordate mio zio maestro di scuola quando non aveva voglia di lavorare e impartiva una lunga espressione matematica agli allievi poi apriva la gazzetta dello sport- Uno dei giornali sportivi accreditati da sempre, che ospita autentiche prose d'autore e annovera prove di abilità giornalistica, non merita di essere un tappabuchi didattico temporale di un docente poco evoluto. Ebbene cari registi, osservate l'interazione di gruppo e l'apporto registico nell'improvvisazione invece di distaccarvi facendo della creazione estemporanea un atto da cui il direttore si separa. PREMESSA l'improvvisazione riguarda una grande comunità di interpreti che da respiro narrativo, e non un unico attore con una matita o una sola attrice con una sedia, se lavoriamo da adulti costruiamo nel tempo e non ci limitiamo all'ideina lasciata lì. Insegnamento; 1 un personaggio è inserito a contrasto con la situazione generale, che deve esserci altrimenti cari registi dovevate fare i compiti a casa in modo da escogitarla e seminare concretamente il tema di base: " ciascuno intreccia una relazione con un primo personaggio, poi ne compie una successiva con un altro personaggio. 3 alcuni personaggi inizialmente sono marginali e non coinvolti, successivamente entrano in azione quando gli attivi si escludono, come in un cambio della guardia. I marginali che fanno cornice, sono attivi e non sono in attesa di fare la loro figura, agiscono anche mentre fungono da cornice. 4 il coinvolgimento delle figure attive popola la scena a principio improvvisazione e in seguito la spopola. La scena è affollata e in seguito poco frequentata. Le figure sono in fase di assembramento e poi in fase diradata e poi distanziata. Questo è dirigere attivamente il lavoro e sudarsi il pane, invece di sedersi in platea e dire "cominciamo". .Non siete lì per guardare ma per montare come un muratore che arriva in cantiere con i progetti in mano. Registi, dipende da voi, cercate di appartenere ad una èlite creativa invece di essere sottoproletariato passivo. Con affettuosa disistima, A.F.
![Mothlight - Stan Brakhage [1963]](/img/n.gif)
If your party doesn't look like this don't even invite me
Everybody: dancing
Schmidt: lmao let me balance this bread on my face
The two characters tapping surfaces off beat really sells the drunken nihilism of this whole scene.
One of the greatest dancing scenes in all movie history.
I like to study the couples dancing. The pair at the back are brilliant with their technique and timing but I can't manage to keep watching them due to the completely brilliant madness happening in the room! Best movie scene ever!
The moment when Estike looks through the window is devastating, because you know that she died immediately afterwards.
That scene is one of the best 5 scenes in cinema histroy for me
It like she saw a complete nihilism and there was no escape
Mezmerizing. Especially when I watched this in the theatre at the last Berlinale festival. Bela Tarr was there, too, since it was the 25th anniversary of Satantango's premiere. He's an awesomly cool dude! :D
How did they show it? In one sitting or 2 parts, 3 parts?
@@nebojsasavic6262 We got two 25 min. breaks, so it was three parts at roughly 2.5h each.
That's awesome. Did Bela Tarr speak before or after the movie? Did you get to talk to him one on one?
@@hiddenplans Before the film, there were just some introductions and announcements from Berlinale representants. There was a Q&A after the film, though.
Of course, someone asked about the scene where the girl wrestles the cat. If that audience member hadn't asked, my friend who was with me would've. He had a cat back then, and that scene was really hard to watch for him. Tarr ensured the audience that that scene was the result of a long and arduous training process with that cat, which was luckily the kind that doesn't mind being moved around. It got to know the girl very well, and by the end of it, so said Tarr, the cat even seemed to understand what all those people around her were actually after.
I also remember someone asking about advice for aspiring filmmakers, and one of the things he said I remember well, because it was kinda funny: "Every phone has a camera now, no? You want to make a movie? Then go out and film!" :D
He wandered around among the audience during the two breaks, having little chats here and there, too. A friendly, relaxed and unpretentious man.
It’s so depressing and it accumulates over that long time so perfectly
The most nihilstic movie ever
We need a 10 hour version of this
Director's cut
I agree Steve. The first time I saw this film and especially this scene, I was amazed.
That'd be shorter than the actual scene from what I can remember.
❤❤❤❤
My favorite scene in the film. It’s completely entrancing
Same. It's the highlight.
best movie scene ever!!
Thx for the upload! I watched the movie 25 years ago in Bremen in a little movie theatre in Walle called "Kino 46"! This scene is really hypnotic!
Yes it is so hypnotic i felt that too
Watched the film today..came and found this ❤️
First view I found this annoying. Then I watched it again. And again. And again ...
Best film scene. Ever.
This is just stunning. How on earth did the actors keep going? Not to mention the accordion player. Well if you love this, check out out the accordion scene from Holy Motors, plus Denis Lavant's dance of death at the end of Claire Denis's Beau Travail. Classics all.
hes obviously not playing the accordion in the scene
They were reportedly actually drunk
What can I say ~~~FANTASTIC
one's dancing and one's walking with dead cat
4:37 haha, Kelemen is badass 🤣🤣
この断片的な動画をTH-camで見たから何だ。
冒頭からの気が遠くなる長回しに、心も体も慣れてきた頃、初めて傍観者から脱することができる。一緒にダンスを踊ることができる。素面でも酔っぱらいだ。それが快感なんだ。
ぜひ劇場で。
yes
This really need a 10 hour loop or more maybe?
A DJ mate of mine could do a wicked remix on the music from this scene!!!
we finished watching the entire film and this was my most favorite moment.
Now please someone sample this tune into an awesome house mix...please
After watching this , the whole of it several times ocassionally i noticed that the camera is moving in two poses repeatdly , poses one is up and poses two is horizontal , by this kind of movement bela tarr wants to take us in the heart of the event by the horizontal pose, to make us feel the nihilism those characters are living and to see and feel what the little girl is seeing through the window and then bela tarr take a wide shot to the top to make you feel what does it feel to watch this as a watcher or to take a break from the horror of nihilism those characters are living or to make us feel the amount of this nihilistic horror that makes it literally hell living
100% on rotten tomatoes baby!
If you like James Joyce's 'Ulysses', you'll like this 7hr film, guaranteed. Mesmerising film, with a mesmerising soundtrack, and after a dozen viewings, still don't get anywhere near there.
You've watched this movie a dozen times? are you serious? 😅
You've got a lot of time to spare, I guess...
For me, the girl's face at the window is the crux of the whole film. Just heartbreaking watching what she thinks of what I thought was very entertaining music & dancing first time through.
@@stevecrowe1221it's like she saw something she wasn't suppose to see she saw nihilism everywhere
göreceğini biliyordum
Wow this is epic, what is the name of the song?
lassu tanc / Mihaly Vig
The name of the song is Halics (Galicia)
so mildly infuriating how futaki is banging his stick and it does not match the music
Miei cari registi di teatro che fate improvvisare gli attori solo perché non avete idee, mi ricordate mio zio maestro di scuola quando non aveva voglia di lavorare e impartiva una lunga espressione matematica agli allievi poi apriva la gazzetta dello sport- Uno dei giornali sportivi accreditati da sempre, che ospita autentiche prose d'autore e annovera prove di abilità giornalistica, non merita di essere un tappabuchi didattico temporale di un docente poco evoluto. Ebbene cari registi, osservate l'interazione di gruppo e l'apporto registico nell'improvvisazione invece di distaccarvi facendo della creazione estemporanea un atto da cui il direttore si separa. PREMESSA l'improvvisazione riguarda una grande comunità di interpreti che da respiro narrativo, e non un unico attore con una matita o una sola attrice con una sedia, se lavoriamo da adulti costruiamo nel tempo e non ci limitiamo all'ideina lasciata lì.
Insegnamento; 1 un personaggio è inserito a contrasto con la situazione generale, che deve esserci altrimenti cari registi dovevate fare i compiti a casa in modo da escogitarla e seminare concretamente il tema di base: " ciascuno intreccia una relazione con un primo personaggio, poi ne compie una successiva con un altro personaggio. 3 alcuni personaggi inizialmente sono marginali e non coinvolti, successivamente entrano in azione quando gli attivi si escludono, come in un cambio della guardia. I marginali che fanno cornice, sono attivi e non sono in attesa di fare la loro figura, agiscono anche mentre fungono da cornice. 4 il coinvolgimento delle figure attive popola la scena a principio improvvisazione e in seguito la spopola. La scena è affollata e in seguito poco frequentata. Le figure sono in fase di assembramento e poi in fase diradata e poi distanziata. Questo è dirigere attivamente il lavoro e sudarsi il pane, invece di sedersi in platea e dire "cominciamo". .Non siete lì per guardare ma per montare come un muratore che arriva in cantiere con i progetti in mano. Registi, dipende da voi, cercate di appartenere ad una èlite creativa invece di essere sottoproletariato passivo. Con affettuosa disistima, A.F.