The Damnation of the Sight. The Point of View in Three Movies by Béla Tarr

The paper focuses on Satantango (Sátántangó, 1994), Werckmeister Harmonies (Werckmeister Harmóniák, 2000) and The Man From London (A londoni férfi, 2007), particularly on the manner in which the key notion at the core of Tarr’s universe finds a development within those films: the relation between the narrative and its (“entropic,” so to speak) excess. Notably, the Point Of View proves to be the ultimate device through which something like a spatial form structuring the aforementioned relation can be shaped.