Having already seen and very much enjoyed this director's Berberian Sound Studio and prior to seeing his latest, The Duke Of Burgundy, decided to check out this, his first feature. Glad I did, seems it didn't get a theatrical release in UK, which is a travesty. Great little film, very focused, very intense, with a stunning central performance from Hilda Peter. Problems in her village prompt her to take off with her son and traverse the Carpathians and maybe exorcise her devils. Always very good to look at, this also has what has become a Strickland trademark, amazing score. The tinkling cowbells, echoing across the fields or the creak of the horse and cart carrying them both find their way unobtrusively into the score. Always engrossing, the central sequence where the main character explains graphically what happened to her as their boat slowly spins on a lake is spellbinding and so very effective. Excellent.
23 Reviews
Must see for arthouse film fans
Smallclone1008 June 2018
I enjoyed Peter Strickland's 'Berberian Sound Studio' from 2012, and this film made by him 3 years earlier is just as good, if not better. It has a strange tone - almost like a 1970s Agnes Varda film, but it's set in Romania in present day. It's extremely erie in places and very beautifully shot in the Carpathian mountains about a woman with nothing left to lose out for vengeance. It also features a superb (but disturbing) monologue midway through the film from lead actress Hilda Peter.
Traditional ballad transformed
Gecq16 February 2009
Warning: Spoilers
Oh well, we have a directing debut here and quite an impressive one at that. Good camera, beautiful images and musical score, this narration is set in Hungarian-Romanian Transylvania.
Spoiler: Our female Protagonist, impressively played by Hilda Péter, had been raped by two men in the past. When the truth about this incident which she had been hiding and which resulted in the birth of her only child, a son, comes to light ten years after, she is cast out by her husband and decides to take revenge on the men who raped her. She takes her wagon and her son and sets out on a journey of tracking down the men, planning on confronting and killing them. This narration clearly is based on Mihail Sadoveanu's famous novel "Baltagul" (The Hatchet) which is transforming the traditional Romanian theme of the ballad "Mioriţa" into a modern detective story and blending the traditional role of a Romanian woman into Modernism. Our protagonist starts on a similar journey but the ends which we are facing are showing cruelly how Sadoveanu's story could have ended more realistically.
Spoiler: Our female Protagonist, impressively played by Hilda Péter, had been raped by two men in the past. When the truth about this incident which she had been hiding and which resulted in the birth of her only child, a son, comes to light ten years after, she is cast out by her husband and decides to take revenge on the men who raped her. She takes her wagon and her son and sets out on a journey of tracking down the men, planning on confronting and killing them. This narration clearly is based on Mihail Sadoveanu's famous novel "Baltagul" (The Hatchet) which is transforming the traditional Romanian theme of the ballad "Mioriţa" into a modern detective story and blending the traditional role of a Romanian woman into Modernism. Our protagonist starts on a similar journey but the ends which we are facing are showing cruelly how Sadoveanu's story could have ended more realistically.
The Law of Unintended Consequences
nqure10 November 2011
Warning: Spoilers
I enjoyed this film and the lead actress (Hilda Peter) gives a memorable, strong performance as a wronged woman seeking vengeance. The rural setting of Eastern Europe seemed appropriate where patriarchal societies still exist and blood-feuds common.
The use of landscape, the story of vengeance gave the film the tone of a folk-myth and the end of the film, with Katalin confronting her rapist in a boat with his innocent, loving wife, was highly dramatic, the boat turning around the river in circles, reflecting the maelstrom of emotions.
I thought the film well-structured, a basic revenge plot, but also more subtle than that: about husbands & wives and secrets, sin & guilt as well as a haunting, atmospheric soundtrack. But also how Katalin's revenge does not quite go as planned and her assailant is not a two-dimensional villain.
I had difficulties reconciling some of the characterisation, especially Antal, the assailant. Perhaps his act, that of a normally good quiet man, is indicative that we can be all prone to evil, but Antal's characterisation jarred with the brutal act he had committed in the past. I think it would have been more plausible if his accomplice had been the rapist and Antal the bystander who had done nothing.
Katalin's revenge does not go as anticipated, claiming the innocent as well as the guilty.
I feel some of the problems in the film are perhaps due to its limited budget rather than ambition/intent. The ending was bleak, with the cycle of revenge continuing. I did think Antal would redeem himself, but the film perhaps ends on a darker, truthful note.
The use of landscape, the story of vengeance gave the film the tone of a folk-myth and the end of the film, with Katalin confronting her rapist in a boat with his innocent, loving wife, was highly dramatic, the boat turning around the river in circles, reflecting the maelstrom of emotions.
I thought the film well-structured, a basic revenge plot, but also more subtle than that: about husbands & wives and secrets, sin & guilt as well as a haunting, atmospheric soundtrack. But also how Katalin's revenge does not quite go as planned and her assailant is not a two-dimensional villain.
I had difficulties reconciling some of the characterisation, especially Antal, the assailant. Perhaps his act, that of a normally good quiet man, is indicative that we can be all prone to evil, but Antal's characterisation jarred with the brutal act he had committed in the past. I think it would have been more plausible if his accomplice had been the rapist and Antal the bystander who had done nothing.
Katalin's revenge does not go as anticipated, claiming the innocent as well as the guilty.
I feel some of the problems in the film are perhaps due to its limited budget rather than ambition/intent. The ending was bleak, with the cycle of revenge continuing. I did think Antal would redeem himself, but the film perhaps ends on a darker, truthful note.
There are no parts...
rolotomasi_70-398-33661917 November 2012
Great, atmospheric effort from Strickland. I can only imagine he had some affinity with this part of Romania whether from childhood or other. The soundtrack and some of the slow lingering shots (esp. the scene looking at child, mother and horse not moving from behind, and the forest shot) were very affecting, and reminded me of Tarkovsky (not in a bad way ;)I got to thinking of the inextricable nature of all things, of how everything (as a single glorious 'entity') was so deviously and religiously bound up that to even attempt to extract something from it was tantamount to destructuring the whole (and thus destroying its royalty). That a film can inspire me (it has to be said not single-handedly)to such ends is indicative of a deep metaphysical quality within it.There is a particular sentence that the man utters towards the end of the film that resonates deeply towards this metaphysis. I shan't explicate it, nor even repeat it, but you shall know it when you hear it.
Thanks for this Strickland, and all who were involved in and outside it (even the guy who carted the extra film stock when, presumably, you ran out ;) 'Ultimately, there are no parts at all.' Fritjof Capra, The Web of Life.
Thanks for this Strickland, and all who were involved in and outside it (even the guy who carted the extra film stock when, presumably, you ran out ;) 'Ultimately, there are no parts at all.' Fritjof Capra, The Web of Life.
Katalin Varga
lasttimeisaw14 August 2010
Warning: Spoilers
The attractiveness of this film lies in its images not the storyline itself. As it is a simple story, a woman seeks revanche towards the man who raped her 11 years ago while bringing their 11-year-old son with her.
As a debut feature from UK director and writer Peter Strickland, I have to admit that this mini- budget film is amazing in its own way, for me I enjoy the bleak score hovering all over the film, sometimes it sounds more like a horror feature. Interestingly this is a Romanian film, with the new waves of eastern European films comes on strong recently!
Also the exotic feeling captures me all the way, I have no idea where the story took place, ambiguous timeline may suggest that it doesn't matter, it could happen in any period of time. The narrative is sinuous at the beginning, after the woman killed the accomplice of the rapist, everything becomes clear, which also initiates a dramatic turn since then. I don't intend to give away any spoilers. The script truly reflects a shadow religious implications, which is difficult for me to point out exactly what it is as my religious beliefs are still in a budding status.
Surely there is some flaws there too, as I try my best not to be a snob perfectionist, I notice that the film is a little bit voluntarily showing off its smug overtones of theatrical retribution. Nevertheless it is a brave film, manages to adopt a conventional story and change it into a remarkable adventure off the beaten track.
As a debut feature from UK director and writer Peter Strickland, I have to admit that this mini- budget film is amazing in its own way, for me I enjoy the bleak score hovering all over the film, sometimes it sounds more like a horror feature. Interestingly this is a Romanian film, with the new waves of eastern European films comes on strong recently!
Also the exotic feeling captures me all the way, I have no idea where the story took place, ambiguous timeline may suggest that it doesn't matter, it could happen in any period of time. The narrative is sinuous at the beginning, after the woman killed the accomplice of the rapist, everything becomes clear, which also initiates a dramatic turn since then. I don't intend to give away any spoilers. The script truly reflects a shadow religious implications, which is difficult for me to point out exactly what it is as my religious beliefs are still in a budding status.
Surely there is some flaws there too, as I try my best not to be a snob perfectionist, I notice that the film is a little bit voluntarily showing off its smug overtones of theatrical retribution. Nevertheless it is a brave film, manages to adopt a conventional story and change it into a remarkable adventure off the beaten track.
very raw cinema. almost physical. loved the sound work!
mehobulls5 September 2020
Obviously filmmaker Strickland has a special interest in women's world. Hilda Péter is simply brilliant as the strong willed woman, giving it a mythical inner power and carries the whole show. Shot in 17 days, the movie has the stamp of a genius inspiration. I think it would easily be considered masterpiece in case it was part of a grander philosophical undertaking.
Powerful fable
oOgiandujaOo_and_Eddy_Merckx12 October 2009
Peter Strickland's debut movie Katalin Varga reminds me very much of another recent British film, Asif Kapadia's 2007 effort Far North, which is also a folk horror story about an outcast and her child. Stickland uses the dank forest of Romania instead of the perilous ice flows of the north, but the movies are birds of a feather, low budget movies intended to tap primal energies.
Children run away from Katalin Varga, a darkly pretty woman with live-wire eyes, who's altogether too spirited to remain unmolested in the time-capsuled world with which the movie presents te viewer. Folk have mobile phones, but Katalin still travels by horse-drawn cart, and men still make hay in the fields with pitchforks. Gossip in Katalin's village is poisonous enough to make Clouzot's vision in Le Corbeau appear positively made of marshmallow. Following the repurcussions of gossip regarding Katalin's past, she travels with her child into an apparently infrastructure-less hinterland on a dark mission, like black lightning.
It's no surprise to find, following shot after shot of foreboding nature scenes, that this is a tragedy, in a cul-de-sac structure similar to Monte Hellman's brilliant 1965 movie Ride in the Whirlwind.
It's a brutal movie, in structure rather than in screen violence, which there is remarkably little of, and which is generally obscured in incoherence when it occurs. It's almost senseless and left me with a directionless primitive anger.
Children run away from Katalin Varga, a darkly pretty woman with live-wire eyes, who's altogether too spirited to remain unmolested in the time-capsuled world with which the movie presents te viewer. Folk have mobile phones, but Katalin still travels by horse-drawn cart, and men still make hay in the fields with pitchforks. Gossip in Katalin's village is poisonous enough to make Clouzot's vision in Le Corbeau appear positively made of marshmallow. Following the repurcussions of gossip regarding Katalin's past, she travels with her child into an apparently infrastructure-less hinterland on a dark mission, like black lightning.
It's no surprise to find, following shot after shot of foreboding nature scenes, that this is a tragedy, in a cul-de-sac structure similar to Monte Hellman's brilliant 1965 movie Ride in the Whirlwind.
It's a brutal movie, in structure rather than in screen violence, which there is remarkably little of, and which is generally obscured in incoherence when it occurs. It's almost senseless and left me with a directionless primitive anger.
Fresh and daring : a stroke of genius
fschmiliver15 October 2018
Warning: Spoilers
Peter Strickland's debut film Katalin Varga is fresh and radical. It carries the unique energy of a first grand artwork made by a young talented craftsman. In that respect I can't help comparing it to Oasis' 'Definitely Maybe' or Edward Albee's 'The zoo story'.
The beautiful Hilda Péter plays Katalin Varga, a woman who is forced to leave her husband after he discovers her son Órban is not his. Katalin sets out with Órban on a rickety horse carriage on a journey through the Transilvanian mountains in search for revenge on the men who raped her 11 years earlier.
Stunningly shot by Mark Györi in 16mm, Katalin Varga is a mesmerising dream-like tale of motherhood and revenge.
Made with very little heritage money and a big heart, it is uncompromising in its directing approach and style and is rabove all the film of a young man who didn't want to give up his dream of becoming a movie director.
The film culminates in a jaw-dropping lake boat conversation scene during which the protagonist faces her rapist.
Katalin Varga was awarded a well deserved silver bear at the Berline in 2009 for sound design.
Katalin Varga is my second favourite film of all times - right after The double life of Véronique. I've seen it 7 times and will probably still watch it again as many times.
The beautiful Hilda Péter plays Katalin Varga, a woman who is forced to leave her husband after he discovers her son Órban is not his. Katalin sets out with Órban on a rickety horse carriage on a journey through the Transilvanian mountains in search for revenge on the men who raped her 11 years earlier.
Stunningly shot by Mark Györi in 16mm, Katalin Varga is a mesmerising dream-like tale of motherhood and revenge.
Made with very little heritage money and a big heart, it is uncompromising in its directing approach and style and is rabove all the film of a young man who didn't want to give up his dream of becoming a movie director.
The film culminates in a jaw-dropping lake boat conversation scene during which the protagonist faces her rapist.
Katalin Varga was awarded a well deserved silver bear at the Berline in 2009 for sound design.
Katalin Varga is my second favourite film of all times - right after The double life of Véronique. I've seen it 7 times and will probably still watch it again as many times.
See it, if you have a chance
bpx6913 May 2010
Warning: Spoilers
Just some tidbits: In an after screening q&a session the author said he wanted to originally cast the movie in Albania, where it would IMO be a good fit with the patriarch governed extended families being the dominant societal organisational form and blood line revenge a.k.a. besa still alive in rural parts of Albania and Kosovo.
But that region in the times of shooting of the film was not a particularly safe place for an itinerant cinematographer, so Hungary and Romania were chosen instead. This being perhaps fortunate for an intimate story of the film, it would be IMO hard to avoid a different political context, including war atrocities and mass rapings taking place in Kosovo at the time of shooting.
Still the Katalin's impulse, and a quick decision to search for her rapist, would be clearer in rural Albania, as within the gossip run partially traditional and partially already modern Romanian village. We are therefore left to our own devices to figure out her motivation during the course of the movie, where the images of dark woods and music leading us to expect some Dracula offspring or something equally sinister to jump out any minute now, do not exactly help us there.
The cinematography is really beautiful, the director commenting that it's not that difficult to be director of photography in Transylvania, where you have so many interesting things and locations to point your camera to. So many decisions about locations were made on the spot without much planning.
The movie was envisioned, shot and brought to a rough cut on a 16mm film using a director's small inheritance of 30.000 Euro. He attributes his finding a producer to finance the blow-up to 35mm to pure luck, but without this luck probably no-one would ever see this very beautiful movie. At the point of my writing the distribution contracts and all the awards brought him about a third of this investment back.
I have to mention the scene where Katalin tells the story of her being raped to her rapist and his wife, as something, that will remain in my memory for some time. Hilda Peter in the role of Katalin Varga is great. Much of the film's appeal is due to her and also other actor's performance.
But that region in the times of shooting of the film was not a particularly safe place for an itinerant cinematographer, so Hungary and Romania were chosen instead. This being perhaps fortunate for an intimate story of the film, it would be IMO hard to avoid a different political context, including war atrocities and mass rapings taking place in Kosovo at the time of shooting.
Still the Katalin's impulse, and a quick decision to search for her rapist, would be clearer in rural Albania, as within the gossip run partially traditional and partially already modern Romanian village. We are therefore left to our own devices to figure out her motivation during the course of the movie, where the images of dark woods and music leading us to expect some Dracula offspring or something equally sinister to jump out any minute now, do not exactly help us there.
The cinematography is really beautiful, the director commenting that it's not that difficult to be director of photography in Transylvania, where you have so many interesting things and locations to point your camera to. So many decisions about locations were made on the spot without much planning.
The movie was envisioned, shot and brought to a rough cut on a 16mm film using a director's small inheritance of 30.000 Euro. He attributes his finding a producer to finance the blow-up to 35mm to pure luck, but without this luck probably no-one would ever see this very beautiful movie. At the point of my writing the distribution contracts and all the awards brought him about a third of this investment back.
I have to mention the scene where Katalin tells the story of her being raped to her rapist and his wife, as something, that will remain in my memory for some time. Hilda Peter in the role of Katalin Varga is great. Much of the film's appeal is due to her and also other actor's performance.
Almost a masterpiece, but...
andreeeei22 November 2013
I borrowed the DVD from a local store, being sure that this is going to be a good movie. I read good reviews of it. Now I'm quite disappointed after seeing it. The movie is good enough until the scene where the woman is telling her rape experience finishes. The story of the rape is the best part. As the camera focused on the characters' faces, Katalin tells her horrific story, disconnected from the suffering that we would expect. That gives the character a lot of power. She is in a position of control, she overcame the bad experience and her main weapon is the truth, because the truth will really ruin the precious relationship of Katalin's aggressor with his wife. The story of the rape is told in such intimate detail, that you may feel various emotions, like empathy, justice being done, concern for any of the characters, each of them may be in a dangerous position. The situation is very much like one from Sadoveanu's novel "Baltagul". After this wonderful artistic moment, the rest of the movie is full of broken links. The man's regret for what he has done is very unrealistic, not that this might not happen in real life, but his state is not supported by the play and the character's story. Then, the suffering for the loss of his wife is too short. The wife, a devoted Christian, commits suicide (that's possible, but not very probable) without many explanations given to us. The man suffers too little after that because he is quite preoccupied with his relation with Katalin and her son. Many other disharmonious details disconnected me from the movie. I also have some personal regrets, that the Romanians in the movie are all mean characters. There's no obvious reason in a movie where 99 percent of the time you have Hungarian language speaking, only three short but significant dialogues are in Romanian. In one of them we have the girls eating sunflower seeds that are not helping the strangers in need without judging or mocking them. Eating sunflowers in public in Romania is associated with low class, specially because it's a Balkan habit mostly associated with gypsies. Speaking of gypsies, I can not get over the idea that the first victim of Katalin is associated with Gypsies and undoubtedly this is part of the construction of an evil character. The other two scenes with Romanians are the ones involving the vengeful criminals, one of them showing a twisted faith in God. Anyway, it could have been a good movie, but amateurish errors and a bit of xenophobia (I suppose) ruined it for me. I may keep in mind as good parts: landscapes, music and the boat scene.
An atmospheric tale of revenge
Tweekums10 April 2019
When the husband of the eponymous Katalin Varga learns that he is not the father of their ten year old son, Orban, he throws her out and demands that she leaves their village. She departs with Orban, telling him that they are going to see his sick grandmother. She has other plans though; Orban wasn't the result of an infidelity but of rape and now she intends to have her revenge. This is something that will have unintended consequences and put her in danger.
Usually when revenge is the subject of a film there will be lots of action before a righteous avenger slays the villainous character who wronged them. This is very different; there is little in the way of action but that is more than made up for in atmosphere. The rural Romanian setting is beautiful and in turns idyllic and oppressive depending on the location and even the weather. This is a world where ancient meets modern; Katalin travels in a horse drawn cart but characters have mobile phones. Hilda Péter does a great job as Katalin, a character who is rarely off screen; the scene where she talks about what happened to her is particularly effecting. The supporting cast are solid too; most notably Tibor Pálffy who plays the man she most wants revenge against... a character that is more sympathetic than one might expect. Overall I'd definitely recommend the melancholically beautiful film.
Usually when revenge is the subject of a film there will be lots of action before a righteous avenger slays the villainous character who wronged them. This is very different; there is little in the way of action but that is more than made up for in atmosphere. The rural Romanian setting is beautiful and in turns idyllic and oppressive depending on the location and even the weather. This is a world where ancient meets modern; Katalin travels in a horse drawn cart but characters have mobile phones. Hilda Péter does a great job as Katalin, a character who is rarely off screen; the scene where she talks about what happened to her is particularly effecting. The supporting cast are solid too; most notably Tibor Pálffy who plays the man she most wants revenge against... a character that is more sympathetic than one might expect. Overall I'd definitely recommend the melancholically beautiful film.
Mesmerising thriller with elements of horror (some spoilers)
PoppyTransfusion28 April 2012
Warning: Spoilers
As others have commented this is a directorial debut and for that alone it deserves high marks. The director shot the film over a 17-day period, which fits with the spare and lean story of a young woman (Katalin Varga) who takes a journey that we learn, as we travel with her, is one of revenge.
I thought the story line was very good because it allowed lots of moments that were eerie and verging on horrific as Katalin's memories of her rape surface. For example as she looks into the forest where her son is running, the forest becomes a dark place in which evils hide. The sound and music used in the film are evocative and a big contributor to the atmosphere of prevalent menace.
What was most satisfying was the way in which Katalin's revenge plan unravels as her experiences give way to lots of different feelings particularly around her son, who is travelling with her and is the result of the rape. The conversation that Katalin has with Antal, her attacker and her son's father, felt so real filled as it was with brittle feelings of disappointment. This film manages to cleverly underline that what we think and imagine we might do and what we are capable of enacting are two different things. Especially as the monster rapist in Katalin's mind and memories is found to be an ordinary man who is kind and hospitable to strangers in need.
There is a surprise ending where the theme of revenge is played out unexpectedly and before that an unforeseen tragedy that visits Antal. Both of which feed the religious theme that is also present throughout; particularly around evil and mercy.
The director's next project is a horror that I look forward to for his use of horror elements in Katalin Varga work well with other elements such as folk telling and a thriller about revenge.
I thought the story line was very good because it allowed lots of moments that were eerie and verging on horrific as Katalin's memories of her rape surface. For example as she looks into the forest where her son is running, the forest becomes a dark place in which evils hide. The sound and music used in the film are evocative and a big contributor to the atmosphere of prevalent menace.
What was most satisfying was the way in which Katalin's revenge plan unravels as her experiences give way to lots of different feelings particularly around her son, who is travelling with her and is the result of the rape. The conversation that Katalin has with Antal, her attacker and her son's father, felt so real filled as it was with brittle feelings of disappointment. This film manages to cleverly underline that what we think and imagine we might do and what we are capable of enacting are two different things. Especially as the monster rapist in Katalin's mind and memories is found to be an ordinary man who is kind and hospitable to strangers in need.
There is a surprise ending where the theme of revenge is played out unexpectedly and before that an unforeseen tragedy that visits Antal. Both of which feed the religious theme that is also present throughout; particularly around evil and mercy.
The director's next project is a horror that I look forward to for his use of horror elements in Katalin Varga work well with other elements such as folk telling and a thriller about revenge.
See this film
allmouth9 February 2010
I missed this first time round and am so glad I caught up with it at an afternoon showing at a local independent cinema. Even more encouraging was that I expected to be the only person there but, although only a smattering of people (in a large auditorium), there were enough to create an atmosphere (that may be in my head but hopefully some people will get what I mean). So, transfixed by Hilda Peter from the outset, the film moved beautifully through dreamy countryside as the revelation of a hidden secret drove Katalin and her son away from their marital home. The menacing undertone haunted their journey to remote villages, the audience waiting for the inevitable vengeance to erupt. The nature of the film and its brutal climax prompted something I love to see as the credits rolled. No one moved or spoke. If the audience is out of their seats the second the picture fades I feel either they're relieved the film has finished or have weak bladders or a drink problem. Katalin Varga was successful in conquering the audience, an endorsement of its quality. See it.
Student project masquerading as art
bet-trojak25 October 2011
Warning: Spoilers
Serious flaws prevent any immersion into this story. Characters are two dimensional and poorly acted bar one. Difficult to find any emotional attachment to the always smirking "rape victim" or the labouriously recited boy. There are various "atmospheric" shots in the film with artistic syntax but these lack any artistic meaning and form a completely disparate experience. Just about any movie shot in rural Transylvania will have this effect and most will do a much better job. One memorable example is a blurry close up shot of flowing water pulling into focus over 15 seconds to some grasses in the foreground. The story is somewhat fresh, but nothing really new there either. The resolution is rushed, emotionless and fake. You can find much better films in this category. Avoid.
Disappointing and without direction
bato09099 October 2009
Warning: Spoilers
I saw the movie at the Vancouver International Film Festival and was disappointed. The plot or story about a raped woman looking for vengeance has had much potential. It is shown in one very good scene when she tells her story on a boat with one of her former tormentors and his new wife without revealing who she really is. But overall, the scenes were attached to each other without a flow, sometimes with music coming from a horror movie which didn't suit the reflections she had while travelling with her son through the beautiful mountains. It is an opportunity wasted. Though, I am generally interested to see what is coming from those former communist East European countries. They might have many stories to tell based on the things which have been swept under the carpet.
This is an unusually competent, earnestly acted, obsidian dark melodrama.
Weirdling_Wolf25 January 2022
Maestro Peter Strickland's desperately haunting, visually sumptuous tale of a long-simmering, bitterly enacted revenge is an elegiac, eerily immersive masterpiece of sinisterly subtle power! With Hilda Péter as the cruelly exiled mother making for an utterly compelling, singularly striking figure as the righteously revenging matriarch, her stoical presence being no less beguiling than the ominously beautiful Romanian countryside she must traverse before grimly manifesting her doom-laden destiny.
'Katalin Varga' is an unusually competent, earnestly acted, obsidian dark melodrama that forcefully leads the viewer across vengefully rocky roads far less travelled! Strickland's increasingly menacing, crepuscular descent into a wronged woman's despair is a relentless, oppressive, progressively transfixing nightmare, and while you are uncomfortably aware her abject journey may not have a trite, salutary conclusion, you are nonetheless compelled to watch, since you can't help but empathise with the precarious fates of the preternaturally durable Katalin, and her charming, wholly innocent son, Orban.
'Katalin Varga' has all the sinewy grip of a multi-faceted, steel-taut thriller, but expresses many of the more refined, emotionally nuanced tenets one expects from the very best work of Ingmar Bergman. There's also a delightfully refreshing lack of hysteria, no irksome actorly histrionics, no cumbrous, literary quotes, the director Strickland is clearly in sync with both the compellingly lean story, and his uncommonly fine cast, as the inexorable existential terrors are implied rather than screeched, therefore making the dramatic climax that much more devastating to behold!
'Katalin Varga' is an unusually competent, earnestly acted, obsidian dark melodrama that forcefully leads the viewer across vengefully rocky roads far less travelled! Strickland's increasingly menacing, crepuscular descent into a wronged woman's despair is a relentless, oppressive, progressively transfixing nightmare, and while you are uncomfortably aware her abject journey may not have a trite, salutary conclusion, you are nonetheless compelled to watch, since you can't help but empathise with the precarious fates of the preternaturally durable Katalin, and her charming, wholly innocent son, Orban.
'Katalin Varga' has all the sinewy grip of a multi-faceted, steel-taut thriller, but expresses many of the more refined, emotionally nuanced tenets one expects from the very best work of Ingmar Bergman. There's also a delightfully refreshing lack of hysteria, no irksome actorly histrionics, no cumbrous, literary quotes, the director Strickland is clearly in sync with both the compellingly lean story, and his uncommonly fine cast, as the inexorable existential terrors are implied rather than screeched, therefore making the dramatic climax that much more devastating to behold!
A harsh film, but beautiful
paul2001sw-17 January 2012
The beautiful Transylvanian countryside, where a thin veil of modernity covers a continuing peasant lifestyle for many, is the setting for Peter Strickland's short, unsentimental film 'Katalin Varga' about the aftermath of a rape. It's a quiet movie, strikingly shot, that offers no pretence of life easier than it actually is. To me, it seemed that the reaction of the perpetrator's wife seemed simultaneously slightly overdone (in terms of motivation) and underplayed; one might also suggest that the ending is not especially satisfying, probably because the film never lets us know exactly what it is that Katalin is hoping for. This can be justified, however, because it's completely plausible that the character doesn't know herself. In a nutshell, this is a revenge movie; but so much more interesting that most of what we see in this genre.
"Should I buy myself a one-bedroom flat in Bracknell or should I make a revenge film in Transylvania?" (P. Strickland)
punishmentpark7 February 2015
Warning: Spoilers
Strickland filmed his sinister first film in an area where he did not speak the language (which reminds me of his follow-up film 'Berberian sound studio'), the Hungarian speaking part of Transsylvania. He did so over the course of several years with a limited budget (about 25,000 British pounds) and without hardly any experience (he had made a short before, which was shown at the Berlinale) in filmmaking.
I am very happy about the choice he made, very happy. The settings in Transsylvania - where, outside of a couple of cellphones and some contemporary dressed people, time seems to have stood still - is of enchanting beauty and Strickland knows how to capture this in a special way; I made me think of 'Sombre' by Philippe Grandrieux a couple of times. De regularly ominous soundtrack evokes more dark expectations to add to the atmosphere. The time-line is occasionally hard to follow, but considering Katalin's uncertain fate, this is rather befitting.
Hilda Péter does an excellent job, and does justice to all the various states of mind of Katalin. Norbert Tankó as the son and Tibor Pálffy are worth mentioning as well, but no one here fails their job.
A big 9 out of 10, and also one to watch again soon.
I am very happy about the choice he made, very happy. The settings in Transsylvania - where, outside of a couple of cellphones and some contemporary dressed people, time seems to have stood still - is of enchanting beauty and Strickland knows how to capture this in a special way; I made me think of 'Sombre' by Philippe Grandrieux a couple of times. De regularly ominous soundtrack evokes more dark expectations to add to the atmosphere. The time-line is occasionally hard to follow, but considering Katalin's uncertain fate, this is rather befitting.
Hilda Péter does an excellent job, and does justice to all the various states of mind of Katalin. Norbert Tankó as the son and Tibor Pálffy are worth mentioning as well, but no one here fails their job.
A big 9 out of 10, and also one to watch again soon.
Some good things, some not so good!
RodrigAndrisan17 October 2021
A bit boring, not much happens but still the movie is not quite bad. There are many poetic, beautiful images, some intelligent editing, and the actors are trying their best. But it's an incomplete film, something is missing, such as some explanations, for example, why didn't the two rapists recognize, after only 10 years, the raped woman, Katalin Varga? And, knowing better than anyone the Romanian mentality, I was born there, the scene with the two young Romanian girls, who are not exactly nice with the main character who is Hungarian, it's impossible in the real world. The reverse is very possible though, try to travel and ask for an indication of the road in the counties where Hungarians are the majority, such as Covasna and Harghita, you'll see what happens.
Visually strong
Nagi48 September 2009
't easy to follow, since a lot of the plot and background story is told little by little.
But the visuals is enough to watch this film. The cinematography and composition is something I haven't seen in a while. I gather the film was shot on 16mm, but that doesn't bother at all. On the contrary, it gives a small personality to the film.
The only weaknesses which I found were in the script. It's somehow difficult to follow, although understandable. But, because it was difficult to follow, it was difficult to get emotionally attached.
But as an art house film, it is a must see. Maybe not for the big public, but for the film buff.
But the visuals is enough to watch this film. The cinematography and composition is something I haven't seen in a while. I gather the film was shot on 16mm, but that doesn't bother at all. On the contrary, it gives a small personality to the film.
The only weaknesses which I found were in the script. It's somehow difficult to follow, although understandable. But, because it was difficult to follow, it was difficult to get emotionally attached.
But as an art house film, it is a must see. Maybe not for the big public, but for the film buff.
similar with a Greek mythical story
dragossamoil22 November 2009
Warning: Spoilers
a magic and a surreal story, very dark but very human; a story about destiny, punishment, revenge; an ethical ancestral story set in a magical time and place; we find only 3 things related with nowadays in scenes less than 30 seconds : cell phones, cars and the sound of a radio - everything else is eternal; similar with a Greek mythical story; katalin varga wants to punish but it's also punished for her actions; there is a justice - an action - reaction law that governs the live of the people in that Transylvanian villages // there is a justice - an action - reaction law that governs the live of the people in that Transylvanian villages //
amazing sound , amazing images // 9 out of 10
amazing sound , amazing images // 9 out of 10
A striking debut for an idiosyncratic filmmaking talent
dr_clarke_227 December 2022
Warning: Spoilers
2009's Katalin Varga is the feature film debut of British auteur director and screenwriter Peter Strickland, who initially funded the film using money from a bequest from his uncle. Shot in Romania with a largely Romanian cast, it lacks the humour and eccentricity of his subsequent films, and is as close to conventional as he has ever been, since it is - in essence - a revenge thriller. And yet at the same time it defies convention with a plot that constantly surprises, and visually provides a striking demonstration of Strickland's talents.
The plot sees Hilda Péter's eponymous Katalin Varga forced to leave her village with her son Orbán when her husband discovers that Orbán isn't his. But whatever her husband may think she didn't cheat on him: the truth is far darker, as we discover that Orbán's father raped her, and she sets out to gain revenge on both him and his accomplice. And so the scene is set for a traditional revenge drama, but Strickland has something more idiosyncratic in mind. Thus, whilst Katalin finds and kills Gergely (who watched and laughed whilst she was raped), when she eventually locates her rapist Antal Borlan, nothing plays out in a predictable fashion.
The normal trajectory of a revenge drama is disrupted when Orbán starts to bond with Antal before Antal remembers who Katalin really is. There's a gripping scene when Katalin is taken boating by Antal and his wife Etelka, to whom she recounts her rape at the hands of two men years ago; Antal looks increasingly gripped by cold realisation, in a master class in facial acting by actor Tibor Pálffy. With Orbán and Etelka unaware that Antal raped Katalin, the film's last act is increasingly uncomfortable and tense, and there's a fascinatingly bizarre, matter of fact conversation between Antal and Katalin as they discuss what is best for Orbán. As Katalin says, "My God, this so different to what I imagined." So too is the denouement: in a ending that Hollywood might baulk at, when Etelka overhears the truth, she hangs herself, prompting Antal to reveal the truth to Orbán, who flees into the nearby forest; the film concludes with Antal trying to find him whilst, unbeknown to him, Katalin is caught and killed by Gergely's brother-in-law and his accomplice, who are out to avenge Katalin's seemingly motiveless murder of a man they think is innocent.
Thus, Strickland takes all the clichés of a revenge tragedy, jumbles them up and provides a relentlessly bleak conclusion that audiences are likely to find completely unexpected. But perhaps it was signposted all along. The whole film sees Katalin surrounded by men who are misogynistic or actually violent. The opening scene is out of sequence, occurring later in the film and showing Gergely's brother-in-law and his friend searching for Katalin. The director builds an atmosphere of slowly creeping dread through a combination of camerawork, editing and atmospheric scoring. The film is shot on location in the Carpathian mountains, which Strickland exploits to maximum effect, making the rural hinterlands in which the story is set look unnervingly bleak and shooting forest scenes in a way that invokes primal fears drawn from European folklore. Cinematographer Márk Györi makes creative use of hand-held cameras, for example during the scene of Katalin murdering Gergely, which is shot in extreme close-up that limits what we can actually see whilst making it quite clear what is happening. During the boat scene, the characters are shot from within the middle of the boat, which nauseatingly rotates faster and faster as Katalin's grim monologue reaches its climax.
The cast, largely unknown to Western audiences, is excellent, with Péter giving a startling performance in the title role, and child actor Tankó giving a very creditable performance as Orbán (Fatma Mohamed, who has appeared in all of Strickland's films to date, has a small role). The film is completed by the atmospheric soundtrack, which is drawn from eclectic sources, including Strickland's own Sonic Catering Band. If there's a flaw here, it is that there is an element of padding, mostly during Katalin and Orbán's journey across the countryside, but this gives Strickland plenty of time to generate atmosphere and establish the characters. Katalin Varga heralded the arrival of a distinctive filmmaking talent, even if it only vaguely hints at how idiosyncratic his subsequent film output would prove to be.
The plot sees Hilda Péter's eponymous Katalin Varga forced to leave her village with her son Orbán when her husband discovers that Orbán isn't his. But whatever her husband may think she didn't cheat on him: the truth is far darker, as we discover that Orbán's father raped her, and she sets out to gain revenge on both him and his accomplice. And so the scene is set for a traditional revenge drama, but Strickland has something more idiosyncratic in mind. Thus, whilst Katalin finds and kills Gergely (who watched and laughed whilst she was raped), when she eventually locates her rapist Antal Borlan, nothing plays out in a predictable fashion.
The normal trajectory of a revenge drama is disrupted when Orbán starts to bond with Antal before Antal remembers who Katalin really is. There's a gripping scene when Katalin is taken boating by Antal and his wife Etelka, to whom she recounts her rape at the hands of two men years ago; Antal looks increasingly gripped by cold realisation, in a master class in facial acting by actor Tibor Pálffy. With Orbán and Etelka unaware that Antal raped Katalin, the film's last act is increasingly uncomfortable and tense, and there's a fascinatingly bizarre, matter of fact conversation between Antal and Katalin as they discuss what is best for Orbán. As Katalin says, "My God, this so different to what I imagined." So too is the denouement: in a ending that Hollywood might baulk at, when Etelka overhears the truth, she hangs herself, prompting Antal to reveal the truth to Orbán, who flees into the nearby forest; the film concludes with Antal trying to find him whilst, unbeknown to him, Katalin is caught and killed by Gergely's brother-in-law and his accomplice, who are out to avenge Katalin's seemingly motiveless murder of a man they think is innocent.
Thus, Strickland takes all the clichés of a revenge tragedy, jumbles them up and provides a relentlessly bleak conclusion that audiences are likely to find completely unexpected. But perhaps it was signposted all along. The whole film sees Katalin surrounded by men who are misogynistic or actually violent. The opening scene is out of sequence, occurring later in the film and showing Gergely's brother-in-law and his friend searching for Katalin. The director builds an atmosphere of slowly creeping dread through a combination of camerawork, editing and atmospheric scoring. The film is shot on location in the Carpathian mountains, which Strickland exploits to maximum effect, making the rural hinterlands in which the story is set look unnervingly bleak and shooting forest scenes in a way that invokes primal fears drawn from European folklore. Cinematographer Márk Györi makes creative use of hand-held cameras, for example during the scene of Katalin murdering Gergely, which is shot in extreme close-up that limits what we can actually see whilst making it quite clear what is happening. During the boat scene, the characters are shot from within the middle of the boat, which nauseatingly rotates faster and faster as Katalin's grim monologue reaches its climax.
The cast, largely unknown to Western audiences, is excellent, with Péter giving a startling performance in the title role, and child actor Tankó giving a very creditable performance as Orbán (Fatma Mohamed, who has appeared in all of Strickland's films to date, has a small role). The film is completed by the atmospheric soundtrack, which is drawn from eclectic sources, including Strickland's own Sonic Catering Band. If there's a flaw here, it is that there is an element of padding, mostly during Katalin and Orbán's journey across the countryside, but this gives Strickland plenty of time to generate atmosphere and establish the characters. Katalin Varga heralded the arrival of a distinctive filmmaking talent, even if it only vaguely hints at how idiosyncratic his subsequent film output would prove to be.
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