诅咒1988

I was sitting at home, and the sound of the decoration came from upstairs. I could feel the weight of the sawdust falling through the ceiling. The computer is playing Bella Tarr's Damnation, and the man at the bar gets up to leave. The afternoon became very thick, with one second chasing the next and then intertwining. The men hide their faces in the shadow of the brim of their hats. In the background, only the music is still moving. There was thunder outside, and the rain was coming, and my eyes rested on the side of a sad man's face. A drop of rain cracked the French window. Two seconds later, a female voice.

“Készazegész”(over and done)

Damnation

This is Bela Tarr. This is Bela Tarr's movie. One might say it is poetry; one might say it is a philosophical work; one might say it is a tremendous hypnotic; some believe it is spiritual introspection. Maybe Bela Tarr's films have all these characteristics, or maybe they do not. However, that does not deny their existence, so deeply embedded in our world that they attack any numb and blind soul to life. If there is a specific category for Bela Tarr and his film, I would call them cinematic humanists, and sincerity is their motto.

Although the master still has a lot of creative energy and talent, we will likely never see his new work again. Bela Tarr's film The Turin Horse, released in Germany in 2011, became his closing work. His explanation for his behavior was: I already speak all that I need, this is undoubtedly a significant spirit loss for fans, this decision also directly cause some of the dissatisfaction of his fans, of course, we can think of Bela Tarr's retirement in a way is a waste of his talent, but this just once again confirmed Bela Tarr's loyalty to his principle.

When we trace this back to the original, we find that it all comes from Bela Tarr's very essential intention for film, from the coincidence that set him on his path as a filmmaker, from his original intention: understand life itself through the manifestation of the real world.

For understanding Bela Tarr's films, we have to understand his insight about films first. Bela Tarr is a strong supporter of Bazin's theory, and in his films, the long-shot takes up a large proportion. This particular approach to filmmaking points to Bela Tarr's humble attitude toward the object itself. He does not see himself as "the original giant". He sees himself as a "filmmaker who wants to make his film." That is to say, in Bela Tal's creation, the authenticity of the object itself is his creation standard.

He does not distort the simplicity of the material for his particular expressive desire. When his camera focuses on his characters' lives, the cinematic images become an excellent example of the humanitarianism of movies. He does not deliberately emphasize a right or wrong moral idea but faithfully depicts the people and the world as they are, even if they are no beautiful.

This humility and respect for the object is the core of Bela Tarr's film. In his films, we can hardly see any specific emotional output or vast doctrinal propaganda, and this mixed ambiguity is precisely the original appearance of reality. Another example is Bella Taal's attitude towards color in films. His works are mostly black and white; he considered the color black and white are the most purified color, and other colors are fake and insincere.

Some people question Bela Tarr's application of color, questioning that he only pursues a specific artistic effect and gives up the natural appearance we are familiar with, which disrespects the object he was filming. This questioning is due to a misreading of Bela tarr's ideas. If one knows enough about the film's authenticity nature, he/she should realize that every cinematic image is real. Black and white images are reality without color.

When we are aware of its inherent realism, color regenerates in our minds. In the cinematic image, the change of tone pointed to by black and white is exactly the original appearance of the world of light and shadow, which is the calmest and objective world. Bela Tarr captures the essence of this reality with great precision. Therefore, in today's increasingly commercialized film market, we can also appreciate such a film culture directly related to the film's authenticity. This is due to Bela Tarr's humility and respect for his filming object

Another revelation of Bella Taal's cinematic philosophy is his choice of lens. He is best known for his long takes and the use of film sound effects. Bela Tarr regards film as the carrier and container of time in a form, and film as the possible solution of truth and human nature in terms of object.

We can guess that when Bela Tal is shooting, he is in the same state as the audience. They all tried to find the truth that he craved in the movie. This is precisely the vision Shared by almost all realistic directors. They don't look for self-expression; they look for cinematic reproductions. They are eager to reproduce reality on the screen; they are confused and hope to find the film's answer. One might argue that if a film represents reality, then the truth offered by the film is not necessarily much "truther" than reality, so why take the time to make a film? Bela Tarr offers the answer with his cinematic philosophy: time.

Why do people take the trouble to watch realistic movies if they only need to go out into the world to see this world's harshness?

Because of the time, in Bela Tarr's films, time is mostly frozen and sticky. The length of his long-shot is reflected in the slowness of his time. In The Turin Horse, the little girl and her father repeat similar routines and behaviors day after day. The repetition of events points to the solidification of time. In almost all of Bela Tarr's films, we could perceive the solidification and rigidity of the characters' expressions. As our memories are consumed by time, and as the flood of time fades away and is forgotten, Bela Tarr's films solidify into a slow, drawling melody. At last, solidified into a stone, standing in the rush of time.

Perhaps the best example is the take of a walking scene that often appears in Bela Tarr's films. The long march stifled the restlessness of our minds, and a profound silence swept over us. Time seems to disappear because we don't know what will appear in the next second. We know that people are walking, they are still walking, and they will walk. A sense of peace and ease takes over our mind. Some people think this is a form of poetry, maybe this feeling comes from the graceful music itself, but I think this feeling comes from a form of sublime's arrival. When humans finally found a way to resist time at some point, we were ecstatic. Although this effect is necessarily transient, it does not prevent the establishment of a cinematic myth.

Bela Tarr is the narrator of this cinematic myth. Perhaps his quest for truth and humanity is hidden in this stone of time, or perhaps the film The Turin Horse contains the last piece of what he seeks, and he decides to retire after all.

Bela Tarr's sincere vision of cinema brings the eternal power of his cinematic form. Moreover, his experiences eventually become the object of his films, embodied in his film's theme. Bela Tarr's creative career is divided into two stages: the angry youth stage and the mature director stage. In his youth, Bela Tarr was banned from making films for political reasons. Censors have blocked some of his films in Hungary.

The Hungarian Communist authorities also blacklisted him. The significant discrepancy between the Hungarian political establishment's promises and realities also influenced Bela Tal's early creative thinking. This kind of social situation has always been lurking in Bella Taal's films. As Bela Tarr's state of mind and thoughts gradually matured, he got rid of the intuitive influence brought by this social situation. His cinematic images have also shifted from reproductions of a single social phenomenon to descriptions of the human condition as a whole.

However, lurking at the heart of Bella Taar's creation may have been the original contradiction, the political authorities' over-commitment, and under-realism. This set of contradictions eventually morphed into the human contradictions that Bela Tal thought about: the sublime and the reality. In Bela Tarr's films, sublime power is everywhere. In Damnation, the sublime is the old man who symbolizes the prophet, who watches Clare's gradual destruction. In Werckmeister Harmonies Sublime is a dead whale and a prince whose arrival changes everyone in town. In satantango, the sublime is Ilimias, an interloper whose characters in the town see as the savior, and the bell tolls from nowhere as a warning of the coming of Satan. In The Turin Horse, the sublime is the opposite of God, the end of the world.。

For Bela Tarr, these sublime forces were necessary. It is almost written in the gene of his inspiration. However, he believed in Nietzsche and rejected religion. He also claimed that God was dead and that human should be their own God. His films do not contradict his ideas. In the Curse, the symbolic noumenon with the power of prophecy is still human. She also has plenty of sympathies, such as pity for the revelers. In Satantango, Ilimias is nothing more but a shrewd crook. Even though he is a metonymy for Satan, what he did is just seeing through the townspeople's fool nature. His selfish human nature lay bare.

The tendency to drag the sublime back to reality is even more pronounced in Werckmeister Harmonies and The Turin Horse. Instead of focusing on the prince and the whale, the film focuses on the kind of Janos. The film also has two remarkable what. During the first long take of celestial motion, the camera pulls back and rises as Janos speaks in silence. Suddenly a resource of light appeared in the picture as if a sublime force were enveloping the tavern. Only later did the audience realize that it was just another light hanging in the tavern, nothing special. The second one is the famous scene that mob attack the hospital, the man who finally stops the mob appears to be a naked, wizened old man. It was the older man's sublime message of transcendence that scared the mobs away. We know very well under the protection of the sublime; he is still a human being just like the others in the hospital.

Moreover, in The Turin Horse, we do not see any doomsday coming, even though the doomsday prophecy must come from some sublime force. All we could perceive is a dry well, a horse that refuses to walk, a dying wind, and the last sound of silence.

Bela Tarr drags the sublime back to reality, telling us repeatedly that the film's focus should be on the human being itself. So when someone suggests that there is an absolute pessimism in Bela Tarr's work, Bella Tarr counters that. As bad as it may be, Bela Tarr's movies will always have a magic touch. So that the audience, after watching, would gain a kind of courage that helps them keep willing to believe in human beings. Perhaps like Satantango, the lofty death knell ultimately points to an infinite cycle of human failure, repeated in numbness.

The sublime entrance and the curtain call, human numbness, or wakefulness. In any case, this is a human's problem, and we are not entirely wiped out. When Bela Tarr's film exists in our lives as a phenomenon, as a vehicle for the time, it continually reminds us. We will also keep staring at Bela Tarr's world. With him, in the solidity of the long take and the length of the music, find a truth, a fact, and a self-testimony.

一个矛盾。对虚无真理的迷信（对主角来说是爱，对其他人来说是金钱和所谓的秩序）。

——“我不想离开你，因为我对那个世界一无所知；而你就是那个世界，我永远都没办法懂。

你是对的，你是正确的，而我是真的爱你。”（爱就是疯狂的真理倒金字塔，疯狂的悖论）

第二个矛盾。对真理是否虚无的不确定（酒吧老板对他的反驳：“你的问题是你认为你和别人之间存在不同。世界有秩序，不能被打乱”）。

最后真理没了，人也疯了，朋友的感情也背叛了，其实或许也早该背叛。

就是没把自己和世界维系起来，（可能是）没看出来每个人，不管如何平凡，都在独自跳舞。

长镜头美不胜收，没有一个瞬间无意义。声音也是很不错的。缆车和狗，世界无意义的循环。雨的长镜头之后女人第一句话就是她喜欢雨，男主跟她说他如何虐待那个自杀了的前女友之后女人就和他说“我丈夫马上就要回来了”，说完了就是恶意的微笑。

主角可能是个哲学家。已经看出来都灵之马的痕迹了。不过这个电影不知道能不能证明这么一个问题：读了哲学之后，只能让导演的提问更玄乎，而答案无非还是那么几个，只跟共同的情感有关。

关于贝拉·塔尔恶毒的【诅咒】 11月11日的凌晨12点，我感觉不到自己情绪的波动，此时的我，就像一个冷静、客观的旁观者，而以这样的态度，去解构一部所谓大师的作品则再合适不过了。 一如往常的风格，开头是死寂一般的沉默，没有旁白，只有规律的敲击，还有永远不紧不慢的镜头，从远处移动的缆索，拉回到窗户里面，看见呆若木鸡的男人，一切都是如此漫不经意。沉默是最大的轻蔑，此时的贝拉·塔尔仿佛在嘲笑着我说：“不要妄想理解我的深意了，只要我拍的时候没有想法，你就永远猜不出我的思想。” 呵呵，我会那样容易就给打败吗？我早就猜出他此刻的意图不过就是像《都灵之马》中的那样，让我一遍又一遍地观看吃土豆，睡觉，不知不觉我也被同化，从人沦为一个被禁锢的马，再成为一个没有思想的次等土豆。所以，这次我没有进入他的世界，而是透过了屏幕，用审视的眼光去打量他。我似乎发现了他的小心思：反大道而行之，我就是要用模糊的人做前景，你得自己把眼神聚焦在后面狭小的动体上；我还要拍狭窄而冗长的梯道，等人物离开画面，就是死死不切，你得看着空荡荡的画面，去听我给你的声音，然后在你的脑子里想象这样的画面。事实上，你在尝试思考的过程中，已经在被我支配了。 好像懂了，似乎又没明白。在似真似梦的场景中，我来到了大雨滂沱的场景。因为戴着耳机，所以脑子里全是雨水落地的回响。朦胧中，我躲在了屋檐下，打起了盹......我翻了一个身，感觉似乎有什么东西掉了出去，我以为是耳机，于是我伸出左手去摸索，我感觉到我的左手湿漉漉的，但却什么都没抓到。起身发现，原来我的耳机还在床边，所以就这样安详地进入了梦香...... 没错，我就是这样被诅咒的。你绝对想不到第二天早上，当我被一阵奇怪的闹钟铃声吵醒时，有多么震惊。这闹钟的铃声是我的，但是发声的位置却不在我的枕边，并且像是被封印了般......是的，我的手机正躺在水盆里，在泡了六个小时过后，此时，正亮着屏幕呼唤我起床...... ...... 在冬天的早晨，我穿着单薄的衣裳，冒着被骂的风险，做了用吹风机，大声播放蹦迪音乐等一系列措施后，终于勉强救回了我的手机。在此我要特别鸣谢亲爱的小米11，IP68的防水等级，以及骁龙888的散热快速蒸发水分，让我看到了旗舰机该有的品质。 同时，我不得不承认，我再一次被贝拉·塔尔给揉碎了，大师之所以能被称作为大师，是因为他的镜头语言就如同那些精巧的文字语言一样富有魔法，能够看穿你的灵魂，涤荡你的思想。 下一次再观摩他的作品，一定是在充分清醒的情况下，或者是在失眠的时候，但是肯定不会是在洗完脚之后......