The writer analyses Satantango from the point of view of the handling of time and place, adaptation solutions, and sound and rhythm. She places Béla Tarr's film in a set of creations (the films of Antonioni, Resnais, Warhol) which provoke and undermine traditional conceptions of time and place, as the end-point of a process. The writer believes that interweaving of stylised mythical and profane elements mark the handling of time in Satantango.      Time and location constantly influence one another, and in particular places and scenes how much time the camera is held gives special emphasis to the stories. Slow movements, long- sometimes almost motionless-stagings of events, the natural rhythms of the land contribute, and in their own way bring into being the distinctived time and place of the film.      The author stresses, on the basis of connections between the film and the novel by Krasznahorkai, that is no coincidence that the ascension into heaven of the little girl in the novel is left out of the film, because it would have broken the smoothly blended stylistic balance of profanity and fantasy.      In Vincze's view, the film's handling of time and place conforms to this basic principle: to bequeath to the land, by means of which space, from one object to another holding movement, has a living, created continuity. On the other hand the space carries mythical elements in itself: multiplying the dimensions of time and events happening.