An illuminating – and extremely rare – documentary profile of one of the greatest filmmakers of our time, Béla Tarr. Filmed during the production of his final masterpiece, The Turin Horse, this film features clips, behind-the-scenes footage and interviews with longtime collaborators.From December 2008 until June 2010, Béla Tarr gathered his “cinema family” near Budapest for his last film: The Turin Horse. This shooting family, which has been collaborating with Tarr for years or even decades, includes Tarr's wife/co-director/editor Agnes Hranitzky, cinematographer Fred Kelemen (himself a director of some renown), cwriter Laszlo Krasznahorkai, musician Mihaly Víg, composer Akosh Szelevenyi, and lead actors Janos Derzsi and Erika Bok.Tarr Béla: I Used to Be a Filmmaker offers an in-depth window into Tarr’s on set process. While film* is "a feudal system" and “there is no democracy in art” as Tarr declares, this film reveals collaboration is essential to the * of Tarr’s cinematic art. Granted all-access, French anthropologist/filmmaker Lamoure closely follows the construction of the main set, captures intimate exchanges between the director and his actors during rehearsals, and the orchestration of elaborate shots involving he*y equipment, but as the documentary also reveals, economic ingenuity.Lamoure takes occasional detours to Budapest where he elicits revealing interviews from Bok, Vig and Derzsi, and also includes clips from Tarr's best-known previous productions, the 7-1/2 hour Sátántangó (1994) and Werckmeister Harmonies (2000), plus 8mm footage shot during the * of the former.