1980 匈牙利 / 彩色 / 126 分鐘 / 35mm
延續紀實戲劇的拍法，但聚焦於人物性格刻劃。綽號貝多芬的主角不可能像貝多芬那些偉大音樂家般終生獨身，他和一個女人有了孩子，卻跟另一個女人結了婚。他去當護士，雖然病人愛他的音樂和溫柔，卻因醉酒砸了飯碗。他空有音樂才華，卻頂多在酒廊做 DJ ，後來為了生計不得不當工廠工人。他周遭一切，也一般飄移不定。失散半輩子的哥哥突然跑來相認（後來還偷了他的老婆），圍繞身邊的不是癮君子，便是醉畫家和淪落為工人的教授。個人無根的狀態中，切切實實感觸到社會的分崩離析。
塔爾寫實風格最頑強之作，演員之間的戲彷彿從活生生的現實中跑出來，工業化的步伐踩 小鎮的血肉之軀來勢洶洶，導演的憤慨亦噴薄而出。特寫的對話成為推展故事的結構，最精采一段是貝多芬與妻子在酒吧台上台下爭論，激盪的是音樂，也是情緒，二者融合的張力襲人而來。塔爾的音樂向來與畫面分不開，一直構成他的電影世界不可或缺的豐富元素。
“塔爾的電影都是由具體確實的事件建構而成，《異鄉人》對所謂「流行」、「青春」或「曝光率」完全不屑一顧。事件的安排又以我們存在的經驗和感覺為依歸。他的風格和思想，各方面都是自明和自然不過的，與那些追求時髦東張西望的大異其趣。”
－ Vince Zalán ， Filmvilág （ 1982 年 2 月號）
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If I must say something about this film, I would say who dun want to live artistically or without any worry about the family or friends from the day he or she was first born to this cruel world without any shade from the lord.
Worry is not only the worry itself, it links to the hesitation to the fear of seeing anything to be done very probably. Searching for a route to the social norms or ITS cultures, which teaches the most innocent people to aware of the hopelessness of the life. Hell is the most safe place for the wrecked man to stay, even for a while (they will not need to searching for the Goods anymore, nor the justice). A place to rest: not quite equals to a place owned by you. What IF I get married, will things be changed in any way? To have a home, to unload those packs from your anger back.
The weakest part of a relationship should be the cracks invading by the disgrateful pasts. None of us really focus on the future nor the present even we always teaching each other about this damn shit. Who can certainly answer, I live in PRESENT? The pasts rooted into our brain, without planting it, it still bleeds in an uncontrollable way and bites the nerves of our sensitive mind, until one day you got mad (eventually).
He or she suspected if only love will bond us eternaly, why should we still be aparted under our skins. Only bloody cold lasts forever, without warning us to bring our umbrella to unmask this continuous Autumn rain.
One day in October, 31 days after. We became all blinded. Future is darkness on the wet floor: blur and dirtily grided. If circle is representing harmony, we only see blues in our skies in a (honestly) different prospect.
A metaphysical poetry might well explain why human nature is never gonna be happy or satisfied, because he or she is unhappy too.
03.10.2005
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until now i still have no time to type something more on bela tarr or the32nd HKIFF.
i m not lazy but i just found that things and feelings easily fade away and you really have to grab them in the first moment.
i m no longer enthusiastic in cinema, i thought. even though i might not.
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