Béla Tarr
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Eggers is working again with The Witch cinematographer Jarin Blaschke, here shooting with 1930s vintage Baltar lenses, and the way in which they represent backbreaking work through textured images of such sensual loveliness at times recalls Béla Tarr’s The Turin Horse (2011).
It’s also a psychological thriller in the vein of Persona, an existential drama with shades of The Turin Horse, and is decidedly more funny—fart gags in tow—than Eggers’ debut, The Witch.
Elephant (2003)
Directed by Gus Van Sant
influenced by Satantango (1994), Autumn Almanac (1984), Werckmeister Harmonies (2001)
Visuals Themes
Many of the scenes occur simultaneously and certain moments cross over from one scene to the next; Gus Van Sant, a fan of Tarr's, tried the same technique on a much smaller scale in his Elephant (2003).
From Tarr's Satantango (1994) comes a complicated overlapping time structure that repeats the same events from a variety of viewpoints, seen mainly in extended takes that follow characters as they walk through adjacent settings.
Along with the Bela Tarr-inspired long tracking shots, Van Sant also makes Elephant non-chronological as the same events are sometimes seen multiple times from different characters perspectives a narrative technique Tarr used in his masterpiece, Satantango .
But Van Sant’s Gerry is to Béla Tarr’s Werckmeister Harmonies as Elephant is to Almanac of Fall : an ethereal evocation of life under siege by the enigma of high school violence.
But Van Sant’s Gerry is to Béla Tarr’s Werckmeister Harmonies as Elephant is to Almanac of Fall : an ethereal evocation of life under siege by the enigma of high school violence.
Alfred Hitchcock’s “Rope” consists of eight 10-minute takes (the limit of a standard film magazine); by contrast, Hungarian art-god Béla Tarr’s celebrated “Werckmeister Harmonies” – 39 fixed-camera shots over 145 minutes – is pretty much a hip-hop video.