Satantango

Main Plot

"Satantango," directed by Béla Tarr, is a Hungarian film that delves into the lives of residents in a small, dilapidated village. The narrative unfolds over several days, capturing the bleak and monotonous existence of the villagers as they grapple with the collapse of their collective farm. The plot is set into motion by the arrival of Irimiás, a man whom the villagers believed was dead. He presents himself as a savior with a plan to lead them to a better place and a new life. The villagers, desperate for hope and change, are easily swayed by his charisma and promises. The film meticulously explores themes of deception, despair, and the human condition, using long takes and minimal dialogue to emphasize the desolation and decay of both the environment and its inhabitants. "Satantango" is a stark portrayal of a community lost in stasis and the illusion of progress, masterfully capturing the cyclical nature of hope and disillusionment.

Characters

• Mihály Vig plays Irimiás, a manipulative leader who deceives a disillusioned community into following him, promising a new beginning but ultimately leading them to ruin.
• Putyi Horváth is a disabled boy who experiences neglect and abuse, tragically reflecting the moral decay within the community depicted in the story.
• László feLugossy plays the character Kelemen, a doctor who observes and chronicles the decay and manipulation of a small community, serving as a cynical, detached commentator.

Ending Explained

In the concluding segment of Béla Tarr’s film 'Satantango', the narrative returns to focus on the character of Dr. Kráner, an alcoholic physician who is depicted as a detached observer of the decaying village. As the community disintegrates following the manipulations and deceit orchestrated by Irimiás, a character who had earlier convinced the villagers to follow him in pursuit of a better life, Dr. Kráner retreats into isolation and despair. The film ends with a prolonged scene showing Dr. Kráner in his dilapidated room, obsessively writing in his notebooks. These writings, filled with reflections and observations of the villagers, serve as a metaphorical archive of the community's history and demise. The conclusion of 'Satantango' is marked by a sense of cyclical inevitability and existential bleakness. Dr. Kráner’s act of writing is both an attempt to impose order on the chaos he has witnessed and a resignation to the futility of such efforts. The film’s final shots, which mirror its opening scenes, reinforce the theme of inescapable repetition and the perpetual stagnation that traps the characters, suggesting a grim view of human nature and societal progression.