I felt this style allowed the film to feel more realistic, as if we were a ‘fly on the wall’, watching the

various events as they took place.

military men use their power over civilians to torment and harm them for no real purpose but
personal pleasure and ego.

With very little important dialogue, it seems like Jancsó was more interested in letting guns do the
talking. 

I do not need a hero, I need reality.

If I have to admit a flaw in The Red and the White I would say that there is not enough (any) blood

“but more than this he also delivers a hallucinatory game of cat

and mouse that largely ignores the specifics of history and
politics to meditate on human nature

“There are no Reds or Whites here,” she says, “only patients.” 

his use of off-screen space serves both a visual and narrative

function. 

the Red and the White is a reserved, unceremonious dance of

death upon the landscape.

On the level of the collective or the historical, Jancso gives us no context, no explanation, for the
battles he makes us witness

There is no overall sense of advance and retreat, and no suggestion of an organized chain of
command on either side; rather, groups of soldiers simply appear — often from off-frame with
no prior warning — and then disappear (leave the frame) again
The Red and the White is an entirely nomadic film; no territorialization ever takes place. The
whole film seems like an exercise in landscape; human beings travel across the landscape

Often, death comes unexpectedly, from outside the frame, without any advance warning being
given either to the audience or to the characters. 

So Death usually comes from outside the frame. This means, in a certain sense, that it is always
contingent and arbitrary; for it does not follow from any sort of narrative logic, nor even from
any discernible chain of cause and effect