Published 2020-01-31
Keywords
- Béla Tarr,
- Cosmogony,
- Harmony,
- Apocalypse,
- Decline
- Ruin,
- History,
- End. ...More
How to Cite
Copyright (c) 2020 L'Atalante. Journal of film studies
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Abstract
Werckmeister Harmonies (Weckmeister Harmoniák, Béla Tarr, 2000) poses an exemplary approaching to the Romantic Sehnsucht; that is, the melancholic yearning carried by the modern subject in their search to recover a primeval harmony with the cosmos, an harmonious connection that Illustration had tried to erase. Obsessively following Valuska’s wandering figure (Lars Rudolph), Tarr shows an overshadowed city in downward spiral where even the resistance is beset by terminal melancholia. The signs of an ‘impending catastrophe’ are all over this off-key town, specially after the arrival of a weird circus. As part of the show travels a giant stuffed whale along with ‘The Prince’, an Apocalyptic prophet with an eschatological discourse. ‘All is ruin. And all that is built, it’s only halfway done. In the state of ruin, everything is complete’, you can hear him say. Fewer words can describe better this process of endless decay, this perpetual wreckage caused by Modernity in which the contemporary subject is still immersed.
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