Péter Szoboszlay’s strongly socially critical film is permeated by the stylistic motifs of psychedelic pop-art and hippy Art Nouveau. The hero is a typical figure of the soft dictatorship, the tyrannical janitor, in the character of which one can almost see the spectre of fascist ideology. The pseudo-documentary (albeit with sociographic authenticity) interview with the janitor is be performed by actor–director Péter Halász.
Zsolt, the shop window-dresser and misunderstood artist, flees to Anni, the colleague of his bride, on his wedding day. At the time, Anni is preparing in her rented room for her fifth entrance examination to the medical university. Zsolt persuades Anni to call his bride and tell her he has changed his mind, he won’t marry her… This unique work by György Kovásznai is for adults, it’s an experimental musical with bold style that radically runs counter to Hungarian traditions of the cartoon genre.
The Inspector carefully walks down the city streets avoiding “danger”. He comes home, washes his feet and reads the newspapers. Suddenly, he sees a fingerprint that starts running. The Inspector follows it… This satirical cartoon about the need for excitement, mystery, suspense and a dynamic life contains all kinds of witty situations and comical details.
An allegorical story about a prisoner and a guard, and about the difficulty to grasp the border between freedom and captivity. The film shows the relativity of the relationship between the executioner and the victim. They both need some contact, they need something to do, they need thoughts. The film won the Crystal Award, the Grand Prix of the 7th International Animated Film Festival in Annecy, the Honorary Diploma at the 20th International Film Festival in Locarno, and the Third Prize at the 7th Cracow Film Festival (1967).
Nedeljko Dragić is one of Yugoslavia’s foremost animation artists. This film is a visual diary of a visit to the United States, for which he has transformed his impressions into a rapidly flowing, semi-abstract series of images. He has created a nightmarish vision, with certain ideas, such as the pace and superficiality of life, technological and economic power and ostentatious advertising, predominating. In his somewhat sardonic comment on American values the more innocent images of the past, like the love-sick mouse chasing a cat and the small figure of Chaplin’s little tramp, are few and far between.
Made as a tribute to the poet-painter Henri Michaux who died in 1985, this animated short film is inspired by one of his books, Mouvements (Gallimard, 1951), and offers an unusual rapprochement between an exceptional practice of writing and painting and the art of animation and cinema. Techniques: real shots and engraving on film.
A little manikin (made of a few twists of stubby wire) juggles balls around him, always preferring the biggest and brightest and overlooking a plain white one, the oddball. It is only when the other balls turn fickle and elude his grasp that he discovers the worth of the little white ball.
A view of man’s perpetual struggle for self-destruction, in which we glimpse a world where rockets are part of everyone’s lives. In the end the red button is accidentally pressed by a careless caretaker, expressing the fear in all our minds.