János Derzsi

Inspired by an anecdote about Nietzsche, Tarr’s final feature is about a farmer and his daughter living in a windblown landscape. One day, their horse refuses to cooperate with them, transforming their lives irreversibly. Apart from a torrent of invective from a monologuing visitor, this is a film very much about silence and features one of the most decisively shattering endings in cinema.

This transcendent cinematic discovery is a harrowing psychological drama in which a veteran detective allows his hunt for a child murderer to become an obsession. Incredibly haunting and atmospheric (and that’s just the hypnotic sound design), it’s directed with taut precision by György Fehér, a long-time associate of Béla Tarr.

After witnessing a crime during his night shift as railway switchman near the docks, a man finds a briefcase full of money. While he and his family step up their living standards, others start looking for the disappeared case.

A small Hungarian town is rocked by the arrival of a travelling attraction: a massive stuffed whale, presented by a mysterious figure known as ‘The Prince’. The resulting unrest upturns the life of Lars Rudolph’s stargazing innocent, newspaper delivery man János.

Plotting on a payment they are about to receive, residents of a collapsing collective farm see their plans turn into desolation when they discover that Irimiás, a former co-worker who they thought was dead, is coming back to the village.