Tag Archives: Arbelos Films


In all our movies, the location has a face. It looks like an actor… In the beginning, we were just talking about social conflicts, and then we were opening, opening, opening. Now we had to show the landscape and the time… When we did location scouting [for DAMNATION] we kept seeing the cable cars. It was awful weather, we were very poor and just trying to do something, but one thing was sure—the cable cars kept going. The most important part of these movies is mostly the location—you have to go and find the visual elements, something which is real.Béla Tarr

DAMNATION—starring Vali Kerekes as a married but very independent nightclub singer and Miklós B. Székely as a philosophical barfly obsessed with her—features Tarr’s signature characters and landscapes in various states of abjection and decay rendered through spellbinding cinematography and poetic resignation.

Tarr’s first collaboration with writer László Krasznahorkai, DAMNATION has been restored in 4K from the original 35mm camera negative by the Hungarian National Film Institute–Film Archive under the supervision of the director.

The film will stream online over the next several days, presented by the UCLA Film & Television Archive. See link below for details.


UCLA Film & Television Archive

Through Thursday, November 5.

Béla Tarr, Damnation (1988), with Vali Kerekes and Miklós B. Székely (second from top and below). Images courtesy and © the filmmaker and Arbelos Films.


The structure of SÁTÁNTANGÓ came from the novel… [which] we didn’t change. László Krasznahorkai wrote twelve chapters, six forward and six back, which is the structure of the tango. — Béla Tarr

SÁTÁNTANGÓ has a reputation for duration (long) and velocity (slow). Think of it as a suspended thriller playing out over several episodes.

For a limited time, Arbelos Films and the UCLA Film & Television Archive are presenting the opportunity to watch the seven-hour film at your leisure—over a 72-hour period.

Devastating, enthralling for every minute of its seven hours. I’d be glad to see it every year for the rest of my life. — Susan Sontag on SÁTÁNTANGÓ

See link below for details.

UCLA Film & Television Archive presents


Béla Tarr, Sántátangó (1994). Images courtesy and © the filmmaker and Arbelos Films.


The 4K restoration of SÁTÁNTANGÓBéla Tarr’s durational magnum opus, based on the novel by László Krasznahorkai—will screen twice this month, presented by the American Cinematheque.

Early on, I noticed that when the camera is rolling and the whole scene is moving, everyone starts to breathe in the same rhythm: the actors, the crew members, the cinematographer, everyone. You are all “in.” And that is very important. It creates a special tension. It gives a special vibration. Somehow you can feel it on the screen too. You become a part of it.Béla Tarr


Sunday, October 13, at 2 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Saturday, October 26, at 2 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

Béla Tarr, Sátántangó. Images courtesy and © the filmmaker and Arbelos Films.


“QUEEN OF DIAMONDS is my very personal portrait of the United States: an over-enlarged, profit-motivated core surrounded by mute and arid alienation. The female protagonist is both deeply estranged and psychically powerful. Her loner position is the backside of centuries of Western Heroes: she stands in the center as watcher and victim of a system which is starting to crack.” — Nina Menkes

The UCLA Film and Television program Nina Menkes, Cinematic Sorceress features a double-bill of two of Menkes’ key works—both starring her sister Tinka Menkes—including the 4K restoration of QUEEN OF DIAMONDS (1991). The filmmaker will be on hand to discuss her work.

QUEEN OF DIAMONDS shares not only the formal sophistication and structural rigor of Barbara Loden’s Wanda (1970) and Chantal Akerman’s Jeanne Dielman (1975) but also their themes: female alienation and the ways that passivity, muteness, and a refusal to engage can serve as forms of resistance to patriarchal oppression. Ironically, these same themes helped to eclipse the three works—and many others like them—for too long.” — Sarah Resnick


Saturday, June 15, at 7:30 pm.

Billy Wilder Theater, Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

See Bérénice Reynaud on Menkes.

From top: Tinka Menkes in Queen of Diamonds (5); Tinka Menkes in The Bloody Child (2). Images courtesy and © Nina Menkes and Arbelos Films.