The paper focuses on Satantango (Sátántangó, 1994), Werckmeister Harmonies (Werckmeister Harmóniák, 2000) and The Man From London (A londoni fér?, 2007), particularly on the manner in which the key notion at the core of Tarr?s universe ?nds a development within those ?lms: the relation between the narrative and its (?entropic,? so to speak) excess. Notably, the Point Of View proves to be the ultimate device through which something like a spatial form structuring the aforementioned relation can be shaped.