The Hungarian Béla Tarr (Pécs, 1955), one of the most influential figures in contemporary cinema, is visiting Barcelona to present a series dedicated to his cinematography with the help of the Filmoteca de Catalunya and the Filmin platform, which he incorporated into its catalog seven films by the director. The author of Sátántangó and The Horse of Turín will review this week the most important works of his career and will also offer two master classes for the students of the Escola de Cinema de Barcelona.
What are you most passionate about teaching?
I don’t take on the role of teacher; I’m just a modest former director. My purpose is to help and the most challenging task lies in the need to display all possible empathy, given that each individual is unique. We face cultural differences, social situations, religions and diverse skin colors. I do not intend to teach anything, since that direction does not lead to any destination. When I founded my school in Sarajevo, it was not really a school in the conventional sense. My motto was clear: “It is not education, it is liberation.” I seek to support others in discovering their own language. I can collaborate with young people, not with all, but with some. I don’t call them students; For me, they are colleagues with less experience than me.
Do you consider that streaming platforms represent a new challenge for filmmakers?
I don’t believe it. Some want to belong to this new industry, others show resistance. To all those who long to be part of it, I inform you in advance that I am not the director for them.
What about artificial intelligence?
I swear to God I don’t know. The world is very big and I do not have the capacity to understand everything. I don’t have any opinion on artificial intelligence because I’m not familiar with it, I don’t know if it’s good or bad or if it should be used. I only know that it exists and deep down, I get the feeling that it is another capitalist scam to make more money.
Recently, the European Film Academy has recognized him with the honorary award and has highlighted his work as “legendary” and “exceptional”. On repeated occasions, you have mentioned that as a young man he dreamed of being a philosopher and never imagined being a filmmaker. How does he feel today?
For some reason, it was life that decided to make me a filmmaker. I never felt like one and, to this day, I don’t feel like a real filmmaker. I feel old. I’m not the same as I was when I was 22.
Are you aware of the influence your films have on the public?
It is intriguing. Sometimes people label my films as “very dark” or “very sad.” For me, the essential thing is to ask the audience how they felt when they left the screening. Do you feel stronger or weaker? That is the fundamental question. My goal is to strengthen them. When I see the sparkle in the eyes of those who watch my films, I feel like I have triumphed. That’s all.
Do you enjoy re-watching your films or don’t you usually review your work?
I do not see them. I know them by heart. I remember them frame by frame. There is no reason to see them again. I was honest and said what I thought. Luckily I have nothing to regret.
Since making your last feature film, The Turin Horse, in 2011, haven’t you experienced the desire to make another film again?
Making movies is like a drug. Desire cannot be extinguished. But, with my last film, I consider that I have already said everything I had to say. There is no reason to be repeating the same thing. Since I stopped making feature films, I made a gigantic exhibition in Amsterdam and another great show in Vienna that consisted of integrating a film, live music, theater, an exhibition… What the Germans call “gesamtkunstwerk” (a work of art in its whole). Because what is interesting is to see and show the complexity of life, not just a story. Who is interested in stories? Not me. All stories are the same since the beginning of time. We are going to continue making stories but the question is how are we going to show them? That’s what’s interesting to me.
Can anyone be a filmmaker?
I don’t think so. It takes a special sensitivity to establish a link with the camera. Sometimes I get the feeling that this can’t be learned.
Do you consider that cinema has the power to transform reality?
In my experience, although I don’t believe that cinema can change the world directly, I do believe that it can exert a certain influence on people. It is the people who can make the difference. Cinema, as a human expression, sometimes inadvertently takes on political dimensions. I don’t consider myself a political filmmaker, but I do have social sensitivity.
Do you have any outstanding debt?
I consider that I have already done everything I wanted to do.
