Béla Tarr

“I still consider film not as show business, but as the seventh art. I have never been interested in stories because the story is forever the same. Just read the Old Testament; it’s all in there. We don’t need to tell any new stories, since we always end up telling the same old story.” (Béla Tarr)

Each earlier edition of KINO DER KUNST stressed the idea of juries with well-known and important personalities from the art and cinema world, such as the actresses Amira Casar and Nina Hoss or artists such as Yang Fudong, Isaac Julien or Cindy Sherman, and in 2017 Hollywood’s legendary DoP Ed Lachman. For the edition 2019, a very rare and important cinema personnality has accepted to preside the jury: the often-awarded Hungarian Béla Tarr, one of the most admired and influential directors of the last thirty years.

Selection of Movies

Karhozat (Damnation) (1988)
Satantango (1994)
The Werckmeister Harmonies (2000)
L’Homme de Londres (2007)
The Turin Horse (2011)

“Béla Tarr was sixteen when he started to make films, chiefly naturalistic and committed social dramas and documentaries. After his studies at the film academy in Budapest, he developed a distinctive and influential style. Since ‘Damnation’ (1988), Tarr’s films have been characterized by long takes and little montage, mostly shot in breath-taking black and white. Tarr presents his audience with an existence stripped of all trimmings and invites them to feel compassion. His way of working, in particular the exceptionally long shots, pushes the narrative into the background as it were. His later films are highly contemplative in character.” (Eye Filmmuseum, Amsterdam)