During his first visit to the city since 2011, the Hungarian master teed off on the 'ridiculous,' the 'fake' and the celebrity-driven.
of the new 4K restoration of 2000’s “Werckmeister Harmonies,” co-directed with his former romantic partner and longtime editor Ágnes Hranitzky. Set in a woeful, unnamed Hungarian village and shot in alluring black-and-white, this melancholic adaptation of László Krasznahorkai’s 1989 novel “The Melancholy of Resistance” centers on a peculiar young man and his uncle, a musician, as a bizarre circus arrives, unleashing chaos.
“All my life I had some social sensibility, and if you see my movies, none of them talk about the people who are usually on the cover of Vanity Fair,” he said. of him posing with a humble Peruvian man in Lima who makes a living selling pirated copies of his entire oeuvre, Tarr laughed. For four years after quitting filmmaking, Tarr served as head of a unique program at the Sarajevo Film Academy known as the Film Factory, where his motto for his “collaborators,” as he refers to his students, was “no education, just liberation.”
“I’m developing some new filmmakers who are young — they are trying to find a new way outside the system,” he said. “I want you to be brave. Don’t listen to anything. No more expectations. You have to break the rules. Because in the 21st century, we don’t have rules anymore. You can do a movie with your phone. You are free.”
That nonconformist status can largely be attributed to his glacial sense of pacing. But what some perceive as languid Tarr describes as introspective. “Those polyester colors are fake,” Tarr explained. “The red is too red. The yellow is too yellow. And when you are doing the grading, you become mad because you cannot find the right dramaturgy for the colors.”
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