The Prefab People Page #3

Synopsis: A husband and wife, drifting apart, reflect on the events leading up to the worst argument of their marriage.
Genre: Drama
Director(s): Béla Tarr
  1 win.
 
IMDB:
7.4
Rotten Tomatoes:
100%
Year:
1982
102 min
85 Views


Can't be a fly. Wind's blown

all the flies away.

- It's only soot! Cheers!

- Whole place was full of flies.

Imagine,

- I had to pay a fine. - Why?

- Because of the flies.

And the salt cellar

wasn't full and

since then there's no flies.

And there's a constant wind.

Now, there's a customer,

coming here.

I'll have to lay a table...

what's the time?

Doesn,t matter,

the firemen are coming.

Imagine, they came before

and ordered,

I couldn't hear them,

the wind from there and I'm here.

- It's a special job.

- What?

- What I'm doing.

- You can't tell me?

- Electric safety operative.

- Serious? No joking?

Serious, you walk around

with your little thing

a whatsit,

and stick it into the wall.

- And it's only one day a week.

- Can't be.

It's true.

It's a responsible job...

But you get 15 thousand here.

Yes, but then you have

to be here every day.

- Are you really going?

- Sure.

I'll be able to go off

into the woods, anything...

You're putting me on...

No, I thought the river

is lovely here,

but you can't watch it

all the time. Right?

True.

Hello.

Gbor?

Go and find him.

- What's wrong?

- What's wrong!

You said you'd just say hell,

is that a hello?

Leaving me with two kids

for an hour and a half?

- An hour and a...

- Who do you think you are?

you're crazy,

for an hour and a half...

I wasn't a minute over 20.

I had a couple of words

with Gyuri.

I don't know where's the other,

I can't be everywher!

Everyone's staring.

Keep it quiet.

Sure, what if I'd left you

sitting here like this. See?

Shut up.

Is this

going to the pool?!

No, it's not like,

so to say, whatever...

more that me and Robi,

my husband,

we haven't gone dancing

for a long time.

He can't really read my mood,

see what I mean?

I can have the desire,

like when we go to a place

where there' dancing

then I really have the need.

I'll never forget when I

was a girl,

it was crazy how many places

I went to, just to dance.

Open air places, school hops,

any chance,

off I went.

I even dance in a competition,

there were all kind of dances,

I came first in the waltz.

There was the twist,

there was those...

when a couple, who could really

do it for a really long time...

the we all stopped,

made a circle and just clapped...

And I could do it for hours,

for hours...

And everyone stopped and

watched and I enjoyed it...

What was the other one?

You had to hold, the jump?

- The jump?

- Not the twist...

And there was the madison...

it won't come...

and in it you had...

No... Letkiss! Letkiss!

That was it!

I remember.

That was a killer,

we did it until our feet...

I only noticed when I'd get

home in the early hours...

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Béla Tarr

Béla Tarr (born 21 July 1955) is a Hungarian film director. His body of work consists mainly of art films with philosophical themes and long takes. Debuting with the film Family Nest (1979), Tarr began his directorial career with a brief period of what he refers to as "social cinema", aimed at telling mundane stories about ordinary people, often in the style of cinema vérité. Over the next decade, the cinematic style and thematic elements of his films changed. Tarr has been interpreted as having a pessimistic view of humanity; the characters in his works are often cynical, and have tumultuous relationships with one another in ways critics have found to be darkly comic. Almanac of Fall (1984), his only color film, follows the inhabitants of a run-down apartment as they struggle to live together while sharing their hostilities. The drama Damnation (1988) was lauded for its languid and controlled camera movement, which Tarr would become known for internationally. Satan's Tango (1994) and Werckmeister Harmonies (2000) continued his bleak and desolate representations of reality, while incorporating apocalyptic overtones; the former sometimes appears in scholarly polls of the greatest films ever made, and the latter received wide acclaim from critics. Tarr would later compete in the 2007 Cannes Film Festival with his film The Man from London, which opened to moderately positive reviews. Frequent collaborators with Tarr include novelist László Krasznahorkai, film composer Mihály Víg, cinematographer Fred Kelemen, actress Erika Bók, and Tarr's wife Ágnes Hranitzky, who is sometimes credited as a co-director of his last three works. After the release of his film The Turin Horse (2011), which made many year-end "best-of" critics' lists, Tarr announced his definitive retirement from feature-length film direction. In February 2013 he started a film school in Sarajevo, known as film.factory, leaving in 2016. He is slated to premiere two short films in a 2017 Amsterdam exhibition. more…

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Submitted on August 05, 2018

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