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), scriptwriter 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 filmmaking is "a feudal system" and “there is no democracy in art” as Tarr declares, this film reveals collaboration is essential to the making 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 heavy 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 making of the former.

方佳莹原本以为完美的两人世界，在与交往三年的杨大和分手之后全毁。分手的当下，大和表示自己渴望一个人的自由自在，佳莹不甘示弱逞强地表示自己也可以「一个人」。没有大吵大闹，也没有谁失去风度，但从分手的那一刻起，佳莹的人生变了。分手的这一年，佳莹过着自以为平静的生活，但同事张一瑞的眼中，她根本是在死撑。一瑞是佳莹在编辑部的同事，他看着佳莹这一年过的生活，决定和女友丁秀欢帮佳莹介绍恋爱对象，秀欢第一个就想到她的表哥丁志明，决定大力推荐给佳莹。但丁志明却是那种笃信「这个世界上没有谁一定要谁」、「一个人才是王道」的人，而这种人在佳莹眼里，叫做怪咖。