Of course, it is nothing less than simple honesty on Tarr's part for presenting a world as he does, as we know historically up to now.
For the most, it is the Prince that humanity has been the most eager to hear, someone to incite change.
In this dense setting, the inhabitants of the apartment reveal their darkest secrets, fears, obsessions and hostilities.
The only thing that has power to halt the rampaging mob then is a vision of their own mortality.The impressions of abstract horror are from a life lived.So it is a dark world rolling into the night that we are given here, from the memory of it, a kind of nightbound universe. Why, most importantly, why even admire the great whale, if the whole is nothing?Look how he opens the film for example, a magnificent round-up even more pertinently addressing now, our microcosmic cycle mirrored from above, with humans dancing into position of the spheres. The only problem; the Nietzchean dismay he seems to have resigned himself to.The last bit of news is that he has decided to stop making films altogether. But it's an honest dismay, a way of confessing that he knows there will be light again in principle but can't seem to see any. It falls on us to see beyond the dark, and see if we can embrace the whale by seeing that the whole and nothing is the one.
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Only the Buddhist have adequately solved this to my mind, by tying into an actual practice of purging the self so that we got a work, a painting, poem or flower arrangement, that was itself an act of meditation. In film, I can always count on Bela Tarr for a vision of formative emptiness, and ways to engage that emptiness as a space for contemplation.