tag:blogger.com,1999:blog-6596790.post114278206277382419..comments2023-12-23T20:09:27.185+00:00Comments on The Curmudgeon: Werckmeister HarmoniesPhiliphttp://www.blogger.com/profile/18076353733931722397noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-6596790.post-66144202073475022552010-12-03T13:40:53.988+00:002010-12-03T13:40:53.988+00:00Thanks for that. It's probably less a question...Thanks for that. It's probably less a question of the historical context being put aside or forgotten, as of anglophone critics simply being unaware of it. We can all see the echoes of the Soviet and post-Soviet era in <i>Damnation</i> and <i>Sátántangó</i>, but older or subtler resonances mostly pass us by, especially given the very overt individuality of Tarr's style. We'll catch onPhiliphttps://www.blogger.com/profile/18076353733931722397noreply@blogger.comtag:blogger.com,1999:blog-6596790.post-64363898548984862832010-12-03T00:45:46.237+00:002010-12-03T00:45:46.237+00:00The Prince is speaking Slovakian. What is vital, b...The Prince is speaking Slovakian. What is vital, becouse it shows, that historical context is not insignificant for Bela Tarr. So let me conclude. On the one hand the structure of this oeuvre is mythological. On the other hand this film is strictly attached to the (Hungarian) history. Maybe this attachment is not so strict, but, anyway, we can talk about some kind of dialectics.<br />It means Piotr A. Szcześniakhttps://www.blogger.com/profile/01071448149049219136noreply@blogger.com