“There are in life faces which, at first sight, appear unremarkable, but when seen through the camera or when projected on screen they become extraordinary. Behind every expression lies an entire life, a destiny,” Ferenc Grunwalsky once declared. While making a sociological documentary, the director-cinematographer came across a young mother who so caught his attention that he decided to devote an entire portrait film to her. In the absence of dialogue, the most minute expressions become the film’s ‘protagonists’, and instead of explanatory narration and captions the power of imagery prevails.
“According to the original plan, Anyaság began as a sociography about the Roma (Grunwalsky was one of the signatories of the Sociological Film Group! manifesto), but it ultimately could not be realized. Thus, the filmmaker found his subject, an eighteen-year-old woman with two children, and filmed one of the most moving and profound portraits in Hungarian film history. All this in such a way that we actually do not learn much about the young girl in terms of facts, but we learn much more about everything that lies behind the facts – about her fate, about herself and her environment. Thanks to its primary meaning, the film takes an important step when it breaks away from the Roma theme and speaks about deep poverty. In this way, it draws attention to a sociologically important circumstance in Kádár-era Hungary, namely that it is not the Roma issue, but poverty that represents the real and extremely serious social problem. At the same time, the more abstract meaning opens up to an idea that is not independent of the social, but goes far beyond it, and now speaks of the poverty of existence in an existential sense.” – Gábor Gelencsér.
Director: Ferenc Grunwalsky.
Cinematographer: Ferenc Grunwalsky.
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