Béla Tarr’s quest for cinematic perfection made him my ideal, impossible mentor | László Nemes

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The Son of Saul director recalls how getting his first job as assistant to the austere master was a hard but inspiring lesson in the most ambitious kind of movie-making News: Hungarian director Béla Tarr dies aged 70 The last time I saw Béla Tarr was a few years ago at the Nexus conference in Amsterdam. We were invited to speak about the state of the world and of the arts. We both thought light and darkness existed in the world, even if our perception about them differed. Béla was already weakened in his body, but the spirit was still ferocious, rebellious, furious. We sat down to talk. It seemed fairly obvious this would be our ultimate, and most heartfelt, conversation. As the former apprentice, I was able to see the master one last time, with all his rage, sorrow, love and hate. I first met Béla in 2004 when he was preparing The Man from London. I wanted to learn film-making and applied to become an assistant on the film. He gave me my first real job: as an assistant, I had to fi...
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Infinity According to Florian review - mission to save Ukraine’s extraordinary modernist masterpiece

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Oleksiy Radynski chronicles the visionary architect Florian Yuriev’s drive to rescue Kyiv’s Institute of Information from destruction after he was given weeks to live

The extraordinary mind of Florian Yuriev, a visionary Ukrainian architect and artist, visualises an astonishingly holistic view of the world. His abstract paintings brim with geometric colourful shapes and patterns that also carry a sonic component, as each shade has their own tonality. On his piano, whose keys are marked with their designated colours, Yuriev played out his painterly compositions, breaking down the barrier between sound and vision. Shot towards the end of Yuriev’s life, Oleksiy Radynski’s passionate documentary follows the architect’s tireless efforts to save one of his modernist masterpieces from destruction.

Once deemed impossible to build, his design for a cultural centre that later became Kyiv’s Institute of Information reflects the utopian optimism of the space age. Nicknamed the “Flying Saucer” building for its futuristic look, the structure features a disc-shaped theatre perched on a horizontal glass-and-steel hall. With their high ceilings and cavernous curves, the interior of the auditorium evokes a sense of calm and openness. The equilibrium, however, is interrupted by construction noises coming from outside: an intrusive shopping mall might soon merge into Yuriev’s design.

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