There is no plot outside of the daily grind that a father and daughter go through- attempting to saddle a resistant horse, preparing dinner (boiling spuds) eating dinner (with a touch of salt), listening to the wind, watching the wind and visiting the well. I have always been a fan of Bela Tarr but approached this with trepidation- it seemed almost a parody of his previous work, taking too far the patience of the audience... I could not have been more wrong.
Once again Vig's music is phenomenal- the grinding, aching, maddening repetition of a single motif you could listen to forever- even more grinding and maddening than Valuska or Oreg (from Werkmeister Harmonies). The long shots are still there but now without the giant whales and hospital raids to give them a gripping, visceral force- instead, this is cinema pared right down to the bone. There is only the long shot of the daily task. And still it manages to be utterly mesmerising... Kelemen (the cinematographer) is a large part of this, as is the wind-- but mostly it is the mental directions you get pulled in, the world you are given time to occupy and explore, questions ask and secrets reveal.
It is Tarr's last film- his most experimental, his most bleak... and, I truly believe, one of the greatest films of all time,