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Béla Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satan's Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007). A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on thedoi:10.5195/ahea.2016.259 fatcat:vuv6wdvfhbhwnp6nwdxbxd57ia