Preceded by short: Journey on the Plain.

Created for television, Macbeth is considered the aesthetic turning point in Tarr's career, where he shifts away from the social realist concerns of his earlier works to a more form–driven, Tarkovskian approach of long takes and sweeping camera movement. A condensed version of the Shakespeare tragedy, it consists of only two takes, one, a brief pre–credits opening. The second, over an hour long, is for critic Jonathan Rosenbaum "a relentless exercise in virtuoso camera movement that works wonders with foreground staging and shallow space...following some characters and picking up others as it relentlessly tracks their movements and machinations through fog, torchlight, and dank, grottolike settings."

Journey on the Plain (Béla Tarr, Hungary, 1995) (Utazás az alföldön). A journey back to the desolate plains of Satantango, this cine-essay features actor–musician Mihály Víg (the composer for Tarr's later films) performing the poetry of the Hungarian writer Sándor Petöfi (1823–1849), whose pieces were directly inspired by the impoverished lowland landscape. For Tarr, "the film intends to be a memorial for the Hungarian poet who couldn't escape from here, who became a prisoner of the destitute, if enchanting Hungarian lowland plains."