There really is a plot to "Sátántangó," and it's an interesting one. We have far too few films that deal with the end of communism in Eastern Europe, and it's a truly fascinating subject. "Sátántangó" does present the problems people face when their way of life changes and examines how communities can come apart.
But all of this gets completely diluted by the painfully monotonous cinematography. There are many beautiful scenes and haunting shots in the film, but because they go on forever, they lose their effect.
Six hours into this "epic," you lose your regard for the Hungarian countryside and start aching for something -- anything -- to happen, like the appearance of strip mall in the middle of a field, where the peasants can see what the future holds for them.
But no, there's still and hour and a half of cinematic root canal to go.
"Sátántangó" could have been a benchmark film about a significant point in European history . . . if the editor had done his job.
But all of this gets completely diluted by the painfully monotonous cinematography. There are many beautiful scenes and haunting shots in the film, but because they go on forever, they lose their effect.
Six hours into this "epic," you lose your regard for the Hungarian countryside and start aching for something -- anything -- to happen, like the appearance of strip mall in the middle of a field, where the peasants can see what the future holds for them.
But no, there's still and hour and a half of cinematic root canal to go.
"Sátántangó" could have been a benchmark film about a significant point in European history . . . if the editor had done his job.