A diocesan priest endures isolation and chastisement by the prince of darkness even as his mystical experiences bring him closer to God. Seeing the world shrouded in darkness he agonizes to understand the incompleteness of his visions and why the fallen world has been abandoned by God, even as he struggles fruitlessly to help others overcome the allure of evil.
Year: 2026
Varjú is a truck driver. One day he picks up a stunning hitchhiker who is on her way to Balatonboglár. Later on he cannot get the girl out of his mind, he spends all his time searching for the blonde hitchhiker while Zsozsó, who is madly in love, is at home waiting for him. The Kangaroo was one of the big hits of the 1970s, racking up a cinema audience of more than 1.8 million. It perfectly encapsulates the restless mood of the seventies when young people dressed in tight denim and listening to rock ‘n’ roll longed for all things western.
By the time director Katja Raganelli arrived in California to make a film about Dorothy Arzner in 1980, Arzner had passed away in a car accident. Nonetheless, Raganelli visited Arzner’s desert home and retraced the pioneering filmmaker’s career in this documentary, using Arzner’s trove of photographs, as well as interviews with her leading lady Esther Ralston, to create this nuanced portrait of a woman who bucked every norm and defied societal expectation.
István Szabó reveals a lesser-known side to the public in this work, which strings together eight shorts of Budapest into a single movie. In the piece interpretable as a declaration of love addressed to the capital there are numerous motifs that are also to be found woven through the director’s major features, first and foremost Szerelmesfilm (Love Film), Tűzoltó utca 25. (25 Fireman’s Street) and Budapesti mesék (Budapest Tales). Besides allowing the viewer to marvel at the cityscape from 50 years ago in a series of fast-moving images, the film is still primarily about Szabó’s Budapest: his observations, his impressions, his imagination.
La Madonna di Theo Eshetu is a video reinterpretation of the figure of the Madonna and the way in which she was represented in Renaissance art. The narratives and symbolic values with which she was associated are transformed into a reflection on the luminous and temporal qualities of video-art.
Fire Eyes sheds light on the anguish and trauma caused by Female Genital Mutilation (FGM), a harmful practice affecting millions of women and girls worldwide. Drawing on the filmmaker’s own experience of undergoing the procedure at the age of 13, the film explores how this deeply rooted tradition, justified by notions of purity and chastity, perpetuates patriarchal control over women’s sexuality and freedom. Through the voices of its victims, it exposes the lasting scars of a practice that continues to fuel oppression, violence and stigma across parts of Africa, the Middle East and Asia.
Jazz singer and writer George Melly takes a nostalgic trip through front rooms and backstreets as he reminiscences about the influence of Dada and Surrealism on his early life.