Thursday, 2 August 2012

"Seeing the film, I was reminded of an earlier arthouse era, where grand existential allegories from the likes of Bergman and Bresson were relatively common. Today, in a post-Tarantino world, they seem almost like an anachronism. In truth, Tarr's vision of life is far more pessimistic than either Bergman or Bresson, who both saw a potential for grace or redemption. In a way, it's a question of religion: Bergman and Bresson grappled with the existence/role of god in a world that offers neither rewards nor answers, and Tarr takes their angst to its most atheistic extreme."

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