FilmWeek: ‘Dead Man’s Wire,’ ‘Greenland 2: Migration,’ ‘All That’s Left of You,’ and more!

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Larry Mantle and LAist film critics Lael Loewenstein and Beandrea July review this weekend’s latest movie releases. And we remember Hungarian filmmaker Béla Tarr.

FilmWeek: ‘Dead Man’s Wire,’ ‘Greenland 2: Migration,’ ‘All That’s Left of You,’ and more!

Larry Mantle and LAist film critics Lael Loewenstein and Beandrea July review this weekend’s latest movie releases. And we remember Hungarian filmmaker Béla Tarr.

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Larry Mantle and LAist film critics Lael Loewenstein and Beandrea July review this weekend’s latest movie releases in theaters and on streaming platforms. And we remember Hungarian filmmaker Béla Tarr.

Films:

Dead Man's Wire, AMC Burbank & AMC Grove|Expands Jan. 16                              
Greenland 2: Migration, Wide Release                    
I Was a Stranger, In Select Theaters                                
All That's Left of You, Laemmle Royal [West LA]                             
The Mother and the Bear, Laemmle Glendale              
Homegrown, Available on VOD                                    
The Forgotten Occupation, Lumiere Cinema [West LA] Jan 10

Legacy of Hungarian filmmaker Béla Tarr

The celebrated Hungarian filmmaker Béla Tarr, director of such works as Sátántangó and The Turin Horse and the recipient of numerous awards for his long and often darkly comic films, has died at 70. During a career spanning decades, Tarr wrote and directed nine feature films, starting with his debut, Family Nest, in 1979 and ending in 2011 with The Turin Horse, which won the Silver Bear Jury Grand Prize at the Berlin International Film Festival that year. Tarr frequently collaborated with Hungarian author László Krasznahorkai. Tarr’s films, the longest of which, Sátántangó, clocks in at 439 minutes or more than seven hours long, were widely praised as being beautifully shot while often using slow pacing and stark imagery to depict despair and social decay. Often shot in black and white and defined by long, hypnotic single takes that could last upward of ten minutes, Tarr’s films depict bleak, hopeless, even dystopian landscapes set during Hungary’s socialist era or in the years following the end of Soviet-dominated communism in Eastern Europe. We’re joined by film critic Carlos Aguilar, whose work often appears in the LA Times, to talk about Tarr’s unique impression on film. With files from the Associated Press.