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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Kill the Jockey review – a mercurial, skittish crime drama whose hero is a drug-fuelled rogue

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Venice film festival
Luis Ortega’s film veers off the racetrack as jockey Remo drifts around the city streets, pursued by a pregnant girlfriend who wants him back and a gangster who wants him dead

People ride horses for all sorts of reasons, explains the jockey hero of Luis Ortega’s offbeat and stylish Argentinian crime drama. They ride to arrive at their destination more quickly, or to wage war more effectively. Mostly, he says, they ride to escape. This jockey is familiar with the nagging urge to take flight. He is a study in motion, a figure in flux. Show him a fence and he will promptly jump it – or die trying.

There is much to relish in Kill the Jockey, not least Nahuel Pérez Biscayart’s wonderfully stone-faced performance as Remo Manfredini, the rider who absolutely, positively has to win his next race in order to keep a gangster off his back. Biscayart plays Remo as though he is the soulful clown in a silent movie, Buster Keaton with a riding crop. He gives the impression of being the bemused lightning rod for events, as opposed to what he really is: an unruly, drug-fuelled rogue agent who is a danger to himself and pretty much everyone else around. “We know all about your unquenchable thirst for disaster,” says leathery Sirena (Daniel Giménez Cacho), the mob boss, in the brief moment of calm between the scene in which Remo performs a slapstick somersault at the starting gate and the moment when he gallops full-tilt at the race-track’s barricades.

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