Hungarian director Bela Tarr is a bit of an enigma. Having seen most of his mature film work, he seems to have come to the place where his surname can be grafted on to a thing as an adjective.
I.e.- just as film mysteries with an odd twist have become known as Hitchcockian, sci fi tales with a twist ending Serlingesque (after the creator of the tv show The Twilight Zone), and inhuman dramas with long deliberate pauses Kubrickian, so too is it right to call deliberately paced films that focus on the internal human predicament Tarrian.
Here is the opening to Werckmeister Harmonies, and note the way the young man is anally trying to orchestrate the others:
Here is a later scene from the film, wherein a mob stops momentarily upon a memorable discovery:
And here is Satantango's opening:
In all instances, watch how Tarr focuses on a thing or two. His long takes dwarf even those of Theo Angelopoulos.
Here is an interview with the man:
