I like the storyline of this show,it attract me so much

Absolutely the worst movie.

The film makes a home in your brain and the only cure is to see it again.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

"Cowardice, sinful Impotence" -- Irimiás, an outsider.As the movie opens, a Herd of Cattle is seen wandering aimlessly in the Village. These animals differ not much from the Villagers they symbolize and share the rural air with. The humans here, are living (or rather dying) a life of Hopelessness, Aimlessness and Despair with nowhere else to go and nothing else to do.As if to augment villagers' own Woes, there's Mother Nature, hell-bent on grinding, beating the Villagers down with a Catastrophe of it's own: Heavy Torrential Rains that do succeed in hiding the tears of the Villagers, but also succeed in destroying everything that the Villagers have a scarce sense of ownership of, ...including the thin Coats on their stagnant bodies, which perhaps are their Last Resort of Protection.To stave off a certain Madness looming over them and thus to ascertain Psychological Survival, each villager has an elusive escape-route of his/her own: extra-marital affairs, brandy, note-taking, holy books...anything goes by. It's a tragic affair, because not even small children are exempted from this shadow of Pessimism and their Neurotic Behavior is always simmering on the surface. The degree of Despair in the Villagers can be gauged from the fact that they trigger into some kind of blurry action only after a particular Tragedy strikes them and that's because each villager is a Reactive individual, not willing to find solutions himself/herself, but waiting passively and infinitely for some external miracle to show them the way.Each villager has a Personal Story of his own...and a varying Degree of Madness. The Doctor is mad, the Repent inside him not being sufficient enough to offset his Addictions. Kelemen is crazier than the Doctor. But Kelemen, still, may not be as mad as the Madman who tolls the bells of the dilapidated church the whole day, but he is surely on his way there.Thankfully, Irimiás who arrives from outside the village as per the orders of the Law to help the Villagers, is looking for a Redemption from a personal past of his own. If not for the above quoted stinging words that Irimiás describes the villagers with, until their hearts burn, probably they might still have been lying around snoring, exactly like the Doctor believes them to be. But Irimiás has a plan...not a definite one...but nevertheless he has something that he has brought with himself that the villagers don't have: A Sense of Authority, Leadership Qualities ...and a Glimmer of Hope.Can he save the Villagers from their own Pessimism? ...Or will the Heavy Rains succeed in grinding the Villagers down?---- Sátántangó (1994), a Hungarian Drama from the acclaimed director, Bela Tarr.In a way, this movie is strangely ironic in that, we realize that the level of Despair in the atmosphere is at its deepest...but we also know that it cannot get deeper than this and now the only way out, is the way of Rising high up.The background scores by Mihály Víg, play a very important character in themselves and provide a distinct personality to each scene.The technique that makes this movie unique, is that we are witnessing the same Segment of Time from different Point of Views of various characters involved. Each View, arrives at a common point of a specific Revelation that has an immediate impact and then moves onward to that specific character's Individual Arc that again climaxes with a concrete Event.

What is it, where is it, how will it affect me? A seven hour long documentary-style study of a closely-knit and decadent rural life in Hungary using a group of fictional misfits and an abandoned, isolated machinery plant as the medium. Why? That's really quite an essential question regarding Sátántangó, despite the fact that you might not realise it quite yet. Why did this film happen? As Nick Pinkerton of Village Voice accurately pointed out: its seven hour runtime is unattractive and impractical to prospective viewers, ipso facto the one-screening-a-day bulk structure defies profit motive and its characters, proclaimed 'poor, ugly, sad and damned people' deny expectations of pleasure. So, why? By process of elimination upon pre-viewing research: to make a statement, and after viewing: obsession. Such a transition of outlook opens new avenues for filmmakers and audiences to explore the two most important parameters that structure the medium: space and time. An accomplishment with such calibre is worthy of considerable attention and acclaim. Now everybody is sitting comfortably, I can give Sátántangó my share. Drunken amounts of synergy emerge from the screenplay of this film, which redefines the phrase 'the whole is greater than the sum of its parts'. Its effect is puzzling but as sincerely lifting as the finest of wines. What does spring to mind, of all things, is a young Ludwig Wittgenstein and his theory of 'language games'. In his work, he writes of an attitude towards faith and trust in God, and how those who take part in this 'game' will be able to understand the specific, exclusive language used within it and be rewarded eschatologically (after death). A similar attitude, although sometimes difficult and certainly impractical, if taken toward Sátántangó, yields equal bounty cometh the close of the seven and a half hours of slow, drunkenly beautiful meandering shots and marmite characters both bickering and caring amongst and for each other. Cometh the close, I felt many things: relief, depression, for all I can concentrate: Stockholm Syndrome (after being locked in with a set of the most flamboyant lovable and hateable characters I've ever seen) and scepticism to whether European cinema could ever match the immaculate and painstakingly poured over directing of Sátántangó during my lifetime. To see being invoked within me such a reaction from a single piece of artwork was giddy. It's a film with a stature and a reputation about it, one too leviathan to be shunned, one too long and that requires too much of a commitment to slander for no good reason. Sátántangó, the 1990s golden seal of artistic merit and power amidst claptrap crime spin-offs and rushed all-American 'masterpieces', is something of almighty reward and calibre that sits sentinel and humble in the face of those it will influence and the audience that it shall seduce and accept as one of its own.

Goaded on by curiosity, I saw SATANTANGO at the Pacific Film Archive several years ago. Critics gushed that SATANTANGO was without parallel - but two hours into the movie, I was less than impressed. Very little plot. Black and gray photography. Segments that went on seemingly forever, with no clear point. Much of the audience filed out early, and I left early, too. Was the director, Bela Tarr, trying to make the film an endurance contest? More recently, I consulted the Internet Movie Database to see what was written about SATANTANGO. The cumulative rating of 8.5 of 10 was impressive, as were the write-ups. "A stunning experience," says one viewer. "Biggest cinematic experience in history," says another. The kudos go on and on. But if you scroll down the database, you'll also find the negative reviews. "Self- indulgent, annoying," one writer says. One of the more measured responses is, "I do not regret that I saw this movie, but I certainly to not think it was a day well-spent" - after giving the film a 1 of 10 rating. So, I decided to see the film again - this time on DVD - to determine if my initial dismissal at the PFA was warranted. And I learned how to appreciate a different kind of movie - and even come to enjoy it. My hints to a naive viewer:Calibrate your attention span. The individual takes of SATANTANGO are unusually long; the first scene, set outside a pen for steers and chickens, lasts over eight minutes, with no cuts. Just a single tracking shot. This happens through the entire film; in fact, the long takes and slow tracking shots give the film its rhythm and style. If you go into SATANTANGO expecting a film paced to contemporary standards, you'll be disappointed. If you can, take a few breaks between segments - and ask questions.Learn about recent European history. It's possible to enjoy SATANTANGO on its own merits, but understanding recent history helps greatly. The film dramatizes the economic depression that gripped the break-up of the Soviet blok, and things gone very bad, indeed. There's crumbling infrastructure everywhere. People struggle to get by, just barely, by depending on agricultural collectives (like the one depicted in SATANTANGO). This gray, depressing worldview would eventually engulf the region. Structure, structure, structure. The key to appreciating SATANTANGO lies in understanding the film's structure. Another reviewer here aptly mentioned Akira Kurosawa's RASHOMON, wherein the film's narrative is defined by a single event - told in entirely different ways by the main characters. SATANTANGO uses a similar technique; several characters experience the same segment of time from different points of view. The eight-minute "preface" introduces us to the collective itself - where the barebones infrastructure is shown. From here, each segment of the film is separated by an inter-title; when a new segment starts, we see the same action - from a new character's POV. But nearly every segment involves leaving this wet, cold, impoverished piece of hell - or try to exploit it. Dance "the Satantango." The musical segments can open the way to appreciating and even enjoying SATANTANGO. Music is important for Tarr, and the repeating figures of dance are a metaphor. The tango is a repeating dance that abides by the rule, "one step forward, two steps back." It's reflected in the lives of the characters, who take one step forward in their lives, but always end up two steps back. The "chapters" of the film don't move forward like a typical narrative work; it repeats the same segment of time, over and over again. If you're frustrated by the fact that the movie seems static - that's the point. SATANTANGO is a story that can't move forward; it repeats the same familiar song, over and over - until a development determines a new course of action for the characters.I didn't enjoy SATANTANGO when I saw it the first time, but I've since become a fan. The investment of time may seem extreme to some, but it's more than worthwhile.

I am giving this film high points, not as some have suggested because I want to be in with the in crowd but because I really enjoyed it and even after a month of seeing it I am still thinking of the significance of various parts.In my view, the reason the film is so long is because Bela Tarr wanted the viewer to be the characters, to feel what it is like to live their lives, squalor and all and not simply be a voyeur to the unfolding of the storyline as in other conventional films. The reason I don't in this case have a problem to give spoilers is that the Police Captain's speech when Irimias and Petrina are summoned before him is the heart of the matter for most of what follows. It is listed above in the Memorable Quotes section but so you don't have to go looking for it I will C&P it here."Captain: Not that human life was so highly valued. Keeping order appears to be the business of the authorities, but in fact it's the business of all. Order. Freedom, however, has nothing human. It's something divine, something... our lives are too short for us to know properly. If you're looking for a link, think of Pericles, order and freedom are linked by passion. We have to believe in both, we suffer from both. Both from order and freedom. But human life is meaningful, rich, beautiful and filthy. It links everything. It mistreats freedom only... wasting it, as if it was junk. People don't like freedom, they are afraid of it. The strange thing is there is nothing to fear about freedom... order, on the other hand, can often be frightening." This is so profound that most of the important themes in the film flow from this short speech. Probably the most important one is the observation (paraphrased) that people like the concept of freedom but they don't actually like to be free. It is usual to hear that people who, to one degree or another, live under oppression want to throw off the yoke of whatever system it happens to be but when they actually have their freedom they don't know what to do with it. In the film there is much talk about clearing off with the money from the sale of the farm, either fairly or unfairly divided and living lives of their own making. What follows is that Irimias appoints himself as the group's leader and everybody falls in line thus voluntarily placing themselves in a hierarchy.The other major theme from the Captain's speech is this. "But human life…..links everything". Every living thing is connected to every other living thing. Do you remember the voice over following the little girl's death? It talked of this connection existing between her mother; her brother who cheated her out of her savings; the cat the doctor and herself and she knew that after she was dead her angels would protect her. We then move forward towards the end of the drunken scene where we are presented with the analogy of the spider weaving a web over all of the drunken people. If a single strand in the web moves then the spider knows. In real life this could be a look backwards to the operating methods of the KGB. Also forwards to such things as the Patriot Act which legalised wire tapping and social networks like Facebook which was conceived by the CIA to farm information about individuals which could not be found in any other way.If someone has control over another living thing then they use that power without remorse. Examples of this are the little girl and the cat; Irimias and the group and the police captain and Irimias. Compare this in real life to what happened in the Stanford prison experiment.Without self discipline and left to their own devices people will become immoral. Examples of this are Irimias representing some unwholesome elitist class; the Schmidts planning to abscond with the money; The little girls brother stealing her savings; Mrs Schmidt with Futaki; the little girl's mother, no different to the cattle in the farmyard. The Police captain using Irimias for spying; the police gathering apparently useless information; the doctor's spying.We should be on our guard to beware of false prophets of hope. In the film this was represented by Irimias and Petrina. When the silver tongued Irimias gave his speech he moved seamlessly from "This event is tragic beyond all comprehension" to "You can achieve a better life by giving me your money". In everyday life I would include most off planet redemption religions together with our political leaders who by and large represent themselves first, lobbyists second and for the represented they do just enough to get re-elected.Beware of false prophets of doom. The man banging on the pipe in the ruined church shouting "The Turks are coming" when there were quite clearly no Turks in any direction.My interpretation of the incredibly sad final scene is that if this is the way we choose to group as a society, sandwiched between false prophets of hope and false prophets of doom and without any self discipline then there is no light at the end of the tunnel. if people had self discipline combined with freedom and self order, as the police Captain suggests, there would be no need for authority but since they don't they are confused between these false prophets of hope and false prophets of doom, therefore all attempts to continue as a workable society are ultimately bound to fail.