Measuring oneself against the aesthetic of Béla Tarr is not a simple procedure to put into practice. One has to catch precisely the essence of the spaces the Hungarian film-maker frames, his ability to make those spaces live while they stand in relation to the human figure, and to catch the substance — not psychological so much as landscape-like and figurative — of his actors' faces.

That is what the five photographers of the Satantango research group set out to do.