Inhalte(1)
Set exclusively in an older woman’s crumbling apartment, Almanac of Fall follows the actions of a group of conniving characters who are motivated by money and sex. The woman’s son, her nurse, and several others vie for her money as they quarrel, maneuver, and betray, creating a bitter emotional climate worthy of Strindberg. (Verleiher-Text)
(mehr)Kritiken (1)
While in Tarr's previous films, the apartment was a symbol of existential problems, now it is an existential problem. While in the previous two films, one could consider the relationship between external material issues and the characters' internal psyche, here (although not completely because factors such as the teacher's financial distress or the desire to get an apartment and money from the mother play a certain role) the author focuses primarily on the intersubjective structure of the relationships of the residents of one apartment (which is no longer just an apartment, but rather a metaphor, for example, a place of conflict between different generations, etc.). Mutual alienation and latent hostility are evident in all the "dialogues" but the form is important here - especially the play of light. It is precisely thanks to the light that we reveal the true distance in the apparent closeness of the characters, even within the most intimate conversations, when it seems that the characters are closer, each of them is mostly lit differently, which metaphorically indicates their true lack of harmony. It is precisely the dialogues and monologues of the characters where my main criticism of the film lies - the film that wants to delve into the depths of the characters' inner selves must have equally deep and profound ideas contained within them, which Tarr has not completely succeeded at yet.
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