The Prefab People

Synopsis: A husband and wife, drifting apart, reflect on the events leading up to the worst argument of their marriage.
Genre: Drama
Director(s): Béla Tarr
  1 win.
 
IMDB:
7.4
Rotten Tomatoes:
100%
Year:
1982
102 min
86 Views


THE PREFAB PEOPLE

What are you doing?

- What are you doing, hey.

- Going.

Where are you going?

Away.

Away, where?

Away, where, where?

What's going mean?

Don't you hear? I said

where, what's going mean?

- Put the kid to bed.

- When I'm ready.

- Where, what's going mean?

- Don't shout!

What's away? For good?

For good.

Going for good?

You think you can just pack

and say you're going!

Wait until I put

the kid down.

What's going mean?

I said, where

what's going mean?

Take it easy.

Take it easy!

You pack up

and announce you're going.

What's I'm going mean?

I asked,

what's I'm going mean?

I asked,

what's I'm going mean?

Bye.

What? You get fed up

and just walk out on us?

- Pack up and get out?!

- You'll have the flat...

And what about me...

don't want it.

Don't want the flat.

You say you're going:

so where do I go?

If I get fed up,

where can I go? Tell me!

No! You think you can, no...

- Let me go!

- No, no...

- Let me go...

- Are you crazy or what?

Anniversary.

Nine years.

Don't you want to look at it?

A big mug!

Hairspray!

- Let's have a drink.

- Let's.

Haven't you a small glass?

You're not drinking that?

Beer.

- You can't clink with beer.

- Want a chaser?

What?

- Cola?

- That'll do.

Who told you

to get me this?

Don't you like it?

- 'Course I do.

- It's like shampoo.

It's hairspray.

Don't spray it in my eyes.

Stop messing,

it's a spray.

Thanks.

Don't want some of this?

No.

You need a glass

for the chaser.

The kid's used that.

- Let me try.

- If I can't, how can you?

I did once when you couldn't.

You're joking.

- You'll never manage...

- Done it...

- You just can't clink

with beer. - Cheers.

Like it?

Fine.

- Asleep are they?

- They're asleep...

Talk to them

in the factory?

- Why?

- Did you talk to them in?

- A few days ago.

- You said you would again,

and they said that next week...

- I told you that next week...

- Didn't you go in?

Why should I have when

it's next week I have to.

- But they said it last week...

- No they didn't.

You're absolutely wrong.

No, I said last Monday

that in two weeks

I'd go in and ask again.

I thought it was today

you were going in.

What's the matter now?

The whole day I thought,

you'd be

- coming home today...

- You got it totally wrong.

- So what am I to do?

- I was waiting all the week.

There's the three shift thing

which is no good.

I can't do much about the rest

because they said

to come in next week.

You've no idea what it's like,

you say goodbye,

off you go, I watch you...

- you don't know...

- So don't watch.

Yeah, that fixes everything,

don't watch you leave.

Drink up.

Now don't cry...

Want a handkerchief?

Others manage, they dress well,

they do their hair

push teh pram and chat

with their girlfriends.

But that's not for me,

I can't do that.

- Read something.

- I can't.

I can't stand being

inside four walls

going to the shops and back.

What the hell is this for?

- Don't shout, they'll wake up.

- It'll last for ever...

- I can't stand it.

- Let's go to bed. - What?

Let's go to bed.

So I raised the subject

and we go to bed

because it's all arranged.

And why am I crying now?

One anniversary a year

and what about the other days?

I put the kids to bed...

I can't do much abouit it.

Forget it.

You go to sleep, watch TV,

read the paper,

when can I tell you about...

You think it's easy for me?

- Where are you taking that?

- Making room to make the bed.

That's all the attention

you pay me...

- How much?

- That I was...

in tears for the flat

and now we have one.

What you know about me is

what you see.

You come home,

and I try

in a good humour, good mood,

there's this dinner, that dinner,

with the kids you don't

have to do anything.

Take them to school, check

their homework, nothing.

And if you take the kid,

then it's to see football,

you have a good time, him too,

you take him for a walk

you go to the cakeshop,

I have to do the hard stuff,

I'm always jumpy with him,

always quarrelling with him

and I can't,

I can't control myself...

All the time I have to

control myself,

to be patient,

to be patient with you too,

patient in the shops,

greet everyone with a smile,

I can't take it any more.

Whether I'm with one kid

or with both of them.

You're with him

when you feel like it.

If you don't,

you lie down, read the paper,

watch TV, listen to the radio,

go out.

You go out whenever you feel like it

you go wherever you want.

I don't go anywhere...

What do you mean?

You always go wherever

and whenever you want to.

- Right, I'll make the bed...

- I nearly went mad today too,

because the kid wanted

to watch TV.

I can't watch any TV

because if he's not asleep

and I turn it on

then he's straight out here.

Either I let him watch too

or if I don't want him to

then I don't turn it on

and I don't watch it.

When you are here you turn

it on, lie back and that's it.

No I don't.

- No? Isn't it the way it is?

- What can I do?

What can you do?

I cook as well.

Your stomach's afraid

that if I go out to work,

would there be food here?

What's these "I cook as well?"

So do others.

Well, right...

this is a fine anniversary.

When did you last sit down

with me like this?

When do I have a chance

to tell you what I want?

The hell with it!

No need to tell me

for the fifth thousand time.

If you once understood...

what five thousand times?

This is the first time

I told you this.

Even if it's five thousand

would you understand?

You don't want to understand

you leave here every day,

so you don't understand.

Stop it...

Stop it.

- Easy now.

- What's the matter?

Is it that I'm not like this,

happy and all?

- You're going too much.

- What am I doing?

- Going on too much. About it.

- About what?

I got it from the first word.

- You're drinking too much.

- Hold him for a second.

Let me spread one for him.

Now, here.

I'm getting a beer.

There, there, it's coming.

- Sausage?

- What's this?

Did I put it there?

- Now what're you looking for?

- The opener.

Go ahead and eat.

Put it there, Gbor.

Want some?

- What's the time?

- Quarter to.

- If I knew this was the end...

- Right, hang on...

I'll be right there on time.

Did you wrap one up?

Wait a tic.

Come on, pass.

This way!

Who's in the middle?

Look out.

That's it.

- Didn't touch it!

- Didn't touch it!

It did... you're in!

That's the way!

That was all very sporting...

Here I am.

Watch it, this way.

Get it away.

Who's in the middle now?

Men... men... live in

in a kind of

society.

Primitive men had

a primitive society.

than came serfdom,

feudalism,

which was the time of lords

and serfs. Are you listening?

Are you sleepy or what?

Then came early capitalism

with factories...

industrialists,

investors,

workers.

Imperialism is the most

developed form of capitalism,

then came socialism.

What we're living in

is socialism.

And more developed than this

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Béla Tarr

Béla Tarr (born 21 July 1955) is a Hungarian film director. His body of work consists mainly of art films with philosophical themes and long takes. Debuting with the film Family Nest (1979), Tarr began his directorial career with a brief period of what he refers to as "social cinema", aimed at telling mundane stories about ordinary people, often in the style of cinema vérité. Over the next decade, the cinematic style and thematic elements of his films changed. Tarr has been interpreted as having a pessimistic view of humanity; the characters in his works are often cynical, and have tumultuous relationships with one another in ways critics have found to be darkly comic. Almanac of Fall (1984), his only color film, follows the inhabitants of a run-down apartment as they struggle to live together while sharing their hostilities. The drama Damnation (1988) was lauded for its languid and controlled camera movement, which Tarr would become known for internationally. Satan's Tango (1994) and Werckmeister Harmonies (2000) continued his bleak and desolate representations of reality, while incorporating apocalyptic overtones; the former sometimes appears in scholarly polls of the greatest films ever made, and the latter received wide acclaim from critics. Tarr would later compete in the 2007 Cannes Film Festival with his film The Man from London, which opened to moderately positive reviews. Frequent collaborators with Tarr include novelist László Krasznahorkai, film composer Mihály Víg, cinematographer Fred Kelemen, actress Erika Bók, and Tarr's wife Ágnes Hranitzky, who is sometimes credited as a co-director of his last three works. After the release of his film The Turin Horse (2011), which made many year-end "best-of" critics' lists, Tarr announced his definitive retirement from feature-length film direction. In February 2013 he started a film school in Sarajevo, known as film.factory, leaving in 2016. He is slated to premiere two short films in a 2017 Amsterdam exhibition. more…

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Submitted on August 05, 2018

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