The image of the main character, the exhausted Valusek, constantly wandering to and fro in the dark alleys of the provincial labyrinth, always, willy-nilly, reaching the square, is the basic visual and structural principle of this film interpretation of Melancholia of the Resistance. Secondary motifs are political games (including the police chief's "gun dance"). Then there's the absurd whale, the sinisterly fanatical Prince, and the manipulation of the crowd. The element of the authority of the Composer-intellectual and its connection to the main motif, the attempted revolution, is a serious one. Werckmeister Harmonies is a flawlessly functioning system of functional elements, interrelated and governed by specific design principles of directorial orchestration. Béla Tarr directs his characters, time, space, and movement in a peculiar tempo and rhythm, unusual and fateful. In a similar way to when his Valuška orchestrates the pub dance of the planets in the opening. But he does it in a more complex way, unlike his main character.