Director: Bela Tarr
The Man From London is exactly the sort of movie that will amaze critics, while being precisely the kind of movie that will irritate me. Critics are forced to watch mediocre-t0-bad fare day in and day out; I usually watch good-to-great movies, Die Hard 2 aside. Visually, The Man From London is incredible - it features Tarr's typical style of very long takes - we will often follow a character when he or she is walking, either ahead of them or behind them. The scene at the beginning of the film appears to be one very long take shot from a window - it's an incredible piece of filmmaking.
The plot of the film, however, is a very basic one, and unless I missed its allegorical meaning, there's not much to this. I suspect that the film will burrow into my brain and I will spend the next month recalling some of the brilliant and striking shots, but despite being given lots of time within the film to ruminate on all the meaning, I'm largely coming up empty.
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