當我看像你時，我凝視著永恆

 『』Cinema is the art of the time of images and sounds, an art developing the movements that set bodies in relation to one another in a space. 『』

『』But realism, for its part, requires us to go ever deeper into the interior of the situation itself, to expand, ever farther back, the chain of sensations, perceptions, and emotions which make human animals into beings to whom stories happen, beings who make promises, believe in promises, or cease to believe in them. As such, it is no longer with the of cial deployment of time that situations are confronted, but with their own immanent limit: there, where lived time is connected with pure repetition, there, where human speech and gestures tend toward those of animals.『』

 『』The time after is not the morose, uniform time of those who no longer believe in anything. It is the time of pure, material events, against which belief will be measured for as long as life will sustain it.『』

－－－《Bela Tarr the Time After》

在《Bela Tarr theTime After》一書中，作者提到貝拉塔爾電影中對於現實主義和時間的看法，現實主義讓我們探尋主角的處境，一系列的感覺，認知和情感讓人成為發生故事的主體。《鯨魚馬戲團》沒有在講一個故事，而是再現給觀眾一種種處境：片頭Janos在酒吧里以及四下無人的街上孤獨的處境，Eszter專注在音樂理論自我隔離的處境，或者是中歐小鎮人民的種種生活困境。這是一部用人物處境連接在一起的電影。

在小鎮暴亂之後，Janos被關進了精神病院，呆坐在病床上雙腳懸空，對身邊的音樂家毫無反映。Eszter穿過廣場，看見被遺棄在地上的巨鯨，也正用著永恆的眼神注視著他。這就是時間。時間是純淨的，不以人的生命為度量，也什麼也不會改變。