Audience Member
My first film from Hungarian director Benedek Fliegauf who was only 30 when he did this film and it's score. It's about one day of a dealers life. He is not up to much as he visit regulars and see all the pain and sorrow in they're lives. Mothers shooting up in front of kids, people begging him for just one last hit and other tripping people.
This is a dark and depressing film. It's also a very slow and long film. It's experimental in quite a few terms. It's in a blue tone and the camera moves very slow in an almost Tarkovskyan style or maybe even like the directors fellow Hungarian Bela Tarr. It's not entertaining, but not completely boring. The nothingness is becoming the main actor here and you can reflect in the things you observe, even if there's not much going on.
Very cool, repitative music made from sounds of nature - a tiny loop that's almost always present. The sound is in general important here and it's a good headphone flick. The acting is OK and while the film is pretty boring and flat it's also so unique and special that it will stay with me for a while.
7 out of 10 dopers.
Rated 3.5/5 Stars •
Rated 3.5 out of 5 stars
01/17/23
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Audience Member
Excellent film about drug-dealing.Very depressing,but one to watch.
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/09/23
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Audience Member
Szerintem egy nagy Tarr BÃ (C)la koppintas az egesz. De nem rossz.
Rated 3/5 Stars •
Rated 3 out of 5 stars
02/09/23
Full Review
Audience Member
eerily freaking numb reality
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
01/12/23
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Audience Member
I would have loved this one if they hadn't shown it in slow motion.
Seriously, this one is unnecessarily lethargic. That said, it's also a beautiful film. You decide.
Rated 4/5 Stars •
Rated 4 out of 5 stars
02/25/23
Full Review
Audience Member
Fliegauf's camera hardly ever stays still. Comparisons to his fellow countrymen, Jancso and Tarr, undoubtedly come from his impressive and very clever use of long-shots, gliding the camera around with the intent of, on the one hand, allowing the viewer to see literally everything -- things even the characters can hardly take in -- and, on the other hand, the intention of isolating the viewer despite following Brechtian aesthetics. This is a brilliant film and Fliegauf shows such a great deal of promise, vision, scope, technical skill, and a fresh aesthetic, not to mention his keen analysis of Hungary's social and cultural issues as they contribute to an almost existential erasure of individuals' subjectivities. In my opinion, I personally find Fliegauf's use of tracking shots to be more in line with Jansco's than Tarr's, although he is obviously influenced by both directors' works while pursuing an aesthetic all his own. In many ways, this aesthetic is similar -- in terms of colored filters, chiaroscuro, the use of long-shots over close-ups, not to mention shadowing and an interest in dull hues -- to many young continental European and eastern European directors working now: Sorrentino, Andersson, Ceylan, and Zvyaginstev, to mention several. Fliegauf's always-active camera, however, is much more disorienting than these other directors' films, despite narrative and cultural differences and thematic treatments, and carries Jansco's and Tarr's brilliance into a new generation of cinema with a unique vision that promises many more masterpieces to come.
Rated 4.5/5 Stars •
Rated 4.5 out of 5 stars
02/10/23
Full Review
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