Intrigue and deceit in medieval Hungary, with spectacular choreography by Miklós Jancsó. Gáspár, the youngest scion of the ruling family, returns home from Italy and discovers he is destined to be crowned king. However, the path to the throne is convoluted and in the death dance around the court nobody can escape their fate. Ninetto Davoli, known from Pasolini films, also plays an important role alongside László Gálffi, while József Madaras and György Cserhalmi similarly excel in this carnival-like allegory mixed with pantomime.
Tag: HUNGARY
The humour and irony-laden art criticism of György Kovásznai’s previous films is further developed in this short. Each of the three episodes acquired a different visual presentation. The first episode makes fun of the cinema (and its overstimulating effect), the second of the theatre (and its hypocrisy) and the third of the classical music (and its snobbism).
Whispered to by an ancient tree, young shepherd Mihály dreams of more than his simple existence among grass and sheep. The journey he embarks on brings him into contact with golden birds, a dragon and a fair damsel The film’s incredibly rich visuals are based on the animation transfiguration of late Gothic, early Italian Renaissance frescoes, altarpieces and tableaux. Based on a poem by János Pilinszky.
A slowly disintegrating painting, a bird on the painting that later flies away. An ethereal female figure that pops up from time to time, then as a counterpoint a disgusting insect, an undulating multitude of pebbles and a plethora of letters fill the picture. In other words, the combined spectacle of visual motifs and sound effects creates a unique and memorable vision of the passing of time and the continuous change of time.
Using almost no dialogue, the film follows a number of residents (both human and animal) of a small rural community in Hungary – an old man with hiccups, a shepherdess and her sheep, an old woman who may or may not be up to no good, some folk-singers at a wedding, etc. While most of the film is a series of vignettes, there is a sinister and often barely perceptible subplot involving murder.
This impressionist film is set in the period of “sweet peace”, at the turn of the century. Jeno Kelepei, a bohemain student, decides to move into Mutter’s brothel after a dissipated night, for food and accomodation. When the young man’s anxious mother arrives unexpectedly from the countryside, the Mutter quickly transforms the house into a boarding house for damsels.
Budapest, in the ’80s. Géza and his family living in the block flat microdistrict. One morning Géza meets a young lady in the elevator. This moment change his life. On the same day he quits his factory job and decides to start his own business: became a wall driller, as there a big demand for it in the neighborhood.
“Puppeteers are the nightmares of markets and stalls. They don’t ask for two kilos of beans, rather they select from 200 kg according to colour and size,” wrote the director in revealing some back-stage secrets to the filmmaking in October 1975. This brilliantly executed animation played with individual beans documents the world of this planet’s residents from the point of view of an extra-terrestrial being, who is witness to the brutal suppression of a workers’ strike by the police. The film is another stop motion object animation hallmarked by Ottó Foky and based on screenplays by József Nepp. The film was shortlisted for an Academy Award for Best Animated Short Film in 1978.