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In this Hungarian comedy post communist materialism is satirized. Someone in Hungary has won a large screen TV set. As they live in the country, it must be delivered from Budapest upon the back of an abandoned Russian military truck. The TV is turned on so that all the truck passes will see its perfect picture and hear its messages.
A collage of human fates, where all shown characters are suffering from panic attacks. Stories like a policeman who is willing to come out or a young business woman who achieved her life goals too early.
The film has a broken meaning, the last time he was a proofreader for a book publisher, he is now unemployed. Ever since he was a child, he has always been the one who pulls the short one, and he takes the wrong one. At the beginning of the film, he finds himself in such a "bunbak" situation again, and then he decides to become a professional bunbak...
This ironic comedy is set in the god-forsaken Kiskúnbékás, at the end of the fifties. There are no jobs, the town's "golden team", who once were third class national soccer players have scattered
Main character of AZ ÖRVÉNY is cameraman György Petö. His private films shot before and during World War II document his family, and particularly his girlfriend and later wife Eva Lengyel. With hindsight, these films, mainly recorded in the southern Hungarian city of Szeged, make up an extremely wry historical document. Petö was a Jew. Slowly but gradually we notice how the anti-Jewish laws and political revolutions in Hungary take the family in a stranglehold. AZ ÖRVÉNY is a rhapsody of found footage. Skillfully edited and complemented with additional footage, it produces an account of an atrocious era and a plea for human dignity.
Hitler's invasion of Russia was one of the landmark events of World War II. This documentary reveals the lead-up to the offensive, its impact on the war and the brinksmanship that resulted from the battle for Moscow. Rare footage from both German and Russian archives and detailed maps illustrate the conflict, while award-winning historian and author John Erickson provides insight into the pivotal maneuvers on the eastern front.
Divided into four sections, "Song" is inspired by the Siberian and Finno-Ugric legends about Creation, in which the world begins with characters who are only half-human, one being half-bird, the other half-bear. The narrator delves into the origins of Hungarian culture, the Iranian and Turkish influences that impacted the society, and finally the story of Stephen, the emperor who brought Christianity to the country and shifted the capital west in an attempt to link with Europe.
The sisters have been living in a Soviet barracks in Hungary for eleven years. They long to go to Moscow, but they are drawn here by habituation and inertia. Their father, the brigade commander, is dead, yet they are unable to act and prefer to remain in the closed world of the barracks. So the plot is the same, only the setting has changed.
Edit, who became the wife of a politician out of a simple peasant girl, suddenly becomes a widow as a result of an accident. She never loved her husband. She lives a wealthy and lonely life amidst false friends, facing one of the last alternatives of her life, i.e. having to face her past in the hope of an independent new beginning.
The film is based on a true story. Jakus, managing director of a scooter-factory suddenly resigns, since he disagrees with his superiors in the ministry on several points. Disregarding the attacks of his family and friends, he returns to his original job and becomes a welder, which is not very easy because of his records.
Ilonka, daughter of a former landowner, is a shop-assistant in her father's small pastry shop in Buda. In order to get a job for her fiancé, who is a young doctor, she befriends János, a painter and owner of the house.
Gruber is a normal 16-year-old growing up in Budapest in 1962, but he has a problem -- how does he get to know the opposite sex? At the Sunday afternoon dance classes the young "ladies and gentlemen" hold each other while dancing, and that makes the lessons worth something. Otherwise, the pianist's attention wanders and the orchestra does not exactly play with a single-minded dedication. In fact, everybody seems to have other things on their minds, except for the enthusiastic dance instructor and his ever-smiling assistant.
Based on the novel of Mór Jókai. During the Hungarian independence war 1848-49 mother and her three sons trying to leave the road precisely designated by their conservative, stone-hearted father. The way-seeking and rivalry of brothers, Jókai's masterpiece, the cast, delightful scenes give an unforgettable experience.
A candid portrait of the women working at the Lőrinc spinning mill. As with so many of Mészáros’ shorts, this work has foundations in autobiography, and she would later return to this particular world in one of her fiction features.
This easy-to-take Hungarian drama is also known as Two Wishes. The prinicipal characters are a pair of juvenile delinquents, who may still be redeemable. The sullen duo is befriended by a kindly police inspector, who takes it upon himself to straighten out the boys. What follows cannot be termed surprsingly or innovative, though it is immensely satisfying. Of interest is the fact that a Communist-bloc film would admit to a delinquency problem in the so-called Worker's Paradise. Ket Vallomas was the Hungarian entry in the 1957 Cannes Film Festival.
After a chance meeting, Zsolt and Ildikó delve into the mystery of the enigmatic Horsehead, uncovering eerie clues to unveil the figure's true identity and motives.
A feature length, lively - montage style - documentary, capturing the essence of what life was like in socialist Hungary's conscript army, using contemporary videos.
From the film-shooting in the Buda Castle Marci and his friend go to a well-paying job. The scene is a big castle in the middle of a huge park. They enjoy the company of the Kid and the beautiful naked French girl, Nathalie. Their job is to watch the monitors on which they can see the Moscow coup détat. By the time Gorbachev is executed the Communist and the Nationalists have taken turns in occupying the castle and the park.
Six young filmmakers from Central and East Europe developed shorts about the theme of 'generation'.
Remake of the English movie Ghost Train (1931, Walter Forde). Seven people are stranded for a stormy night at a remote, unmanned railroad station past which, every midnight, steams the "ghost" of a train which wrecked there 20 years ago.
A grey-haired man walks through the fields. Fatigued, but with the same tenacity he roams the roads, the pathways, the tracks every day, medical bag in hand. Everyone awaits him: desperate or in hope, to the dying or to the woman in labour. He is the local GP. In fact, he is film director Imre Gyöngyössy’s father, the protagonist of one of his first short films. The personal narration based on the director’s poem is made complete by the pictures of Sándor Sára and István Gaál who were also active at Balázs Béla Studio at that time.
Ede (Dezso Garas) is in his sixties, and he is full of uncertainty about how he and his wife Kati (Mari Torocsik) will fare in the new post-communist regime in Hungary. At least before, he had some idea what he needed to do to get by, and even if he never made much money with his myriad schemes, they got by. Kati has got a real bug in her ear about their livelihood, and is hounding him to get into the spirit of the new system. This is troubling enough for the old gent, but when he runs into an old mistress (Kati Lazar) and discovers that he has a grown son he has never met or knew about, his life becomes even more confusing. His slimy ex big-shot brother-in-law (Istvan Avar) is a major player in the new entrepeneurial risk-taking, and he beseiges poor Ede with advice as well. In this topical comedy, all these worrisome things, and more, come to a head at a big family celebrtion.
In this short exploration of sensual audio-visual stimulation, the repeated rituals of an online performer have a transfixing effect on her viewers. What starts as an exploration of tactility, addiction and control soon descends into a nightmarish dance performance where no rules apply.
A heartwarming story about a group of small, seemingly insignificant creatures who discover their inner strength and courage, banding together as a team to overcome significant challenges, demonstrating the importance of responsibility and the power of working together, even when faced with seemingly insurmountable odds.
At the end‐of‐year assembly, Tibor and two friends are browsing Lady Sandra’s website on a computer when the school radio announces he’s flunked history, dashing his plans for a Croatian holiday, parties and picking up girls. Instead, he’s sent to his father’s Flamingó Hotel in Balatonfüred to cram for the makeup exam. The once‐Soviet-era resort is barely recognizable, save for familiar faces: childhood friend Józsi, caretaker Tunyogi’s daughter Kata and kind Aunt Rózsi. Just as everything seems hopeless, a mysterious beauty arrives, and Tibor is convinced she is Lady Sandra, the woman of his dreams.
Two actors and a theater assistant live in modest circumstances in a rented apartment in Budapest. The two men constantly play cards with each other in symbolic stakes, and Béla Bognár's wife, Piri, runs the household. However, the atmosphere is good, and they quote dialogues appropriate to the given situation from the texts of their roles.
An aging Casanova, long dead, is resurrected when factory heiress Susanne Hilmer’s longing brings him back as the modern “Knight Heinrich Holanden,” only to trail a trail of broken hearts, from Susanne and her sister Margarete’s suicides to would-be lovers Ninette and the Countess, before he’s grievously wounded and cared for by the pure-hearted Baroness Livia. When Livia, the only woman he ever truly loves, takes her own life in shame, Casanova, heartbroken, returns to his tomb, closing the door on his final, unfulfilled passion.
This double-threaded story depicts the lives of a sister and a brother in a critical phase of their lives. Virág participates in a tour of the collage choir to Finland. Upon her return home she refuses the assistance offered by Vince, leaves the collage and aborts her child by a young Finn.
A weary mother seeking solace retreats to a serene Tuscan villa, where the adorable Italian innkeeper and a handsome novelist with writer's block, draw her into a story of unexpected connection and renewal.
As her third film's premiere draws close, a young filmmaker begins to crack under the pressure of external forces.
The Belarusian born in Yugoslavia considers completely himself as a Yugoslav. Still during the Soviet-Yugoslav conflict his origin will be reassessed.
Ágnes, Vass and Kriszt run a sanatorium for consumptives. Fifi, daughter of the institute owner is also here, mortally ill. Feri, the ski trainer relieves her with his courtship every now and then from her boredom and distress.
Andor Czettl, in his early sixties, visits the secret service archives one day to read into the reports about himself and discovers a shocking fact. His very best friend János Pásztor was an informer, spying on him and writing reports about him for decades. Sára Cserhalmi's first feature focuses not so much on the actual problem of informing and betrayal as on the contradictory relationship of the two protagonists. It avoids any final judgments. First and foremost, it seeks answers to questions like how an informer can live in our present times and how the one being reported on can cope with this state. Can a close friendship that began decades ago last if such betrayal comes to light? How can someone live and cope with this fact?
After a young soldier sides with a troupe of travelling actors in a fist fight that erupted while they are performing a play, he is forced to flee and the troupe decides to take him in.
A musical farce about women in the canning factory. The pretty Brigitta tries to commit suicide, because Laci left her, pregnant, but her mates save her.
As the carrier of a nation's hopes, there is a lot riding on Overdose. The successes of Hungary's premier racehorse have provided welcome relief from a decades-long legacy of fiscal austerity. But with Big Business cashing in on this symbol of optimism, the horse soon becomes a pawn in a game of egos and politics.
The 'National Documentary' captures the last months of the National Theater led by Róbert Alföldi. The film presents two opposite processes: the rehearsal of the play Mephisto, Alföldi's last direction and, in parallel, the dissolution of the troupe.
The rich love wealth and believe that if they don't keep accumulating it, the world will collapse. It is this human weakness that Volpone, the old con man, builds on, inventing an unexpected trick to play a sickly old man about to die, who, with the help of his servant and skilful apprentice, tricks the hypocritical but wealthy Venetian citizens into doing anything in the hope of a rich inheritance. How things don't turn out as planned...
Turn-of-the-century Hungary. Two young brothers, neglected by their cold and uncaring mother, descend deeper and deeper into psychosis, with tragic consequences.
This is the story of writer Alberto's long journey to Stockholm, where the Nobel Prize awaits him, in a blazing Maserati. He is accompanied by Alessandro, a young journalist whose job is to interview him along the way. Personal and generational dynamics arise between the two men, leading to misunderstandings, jealousies, quarrels, separations, love quarrels and so on, but also to growth for both of them. A story full of twists and turns and always played on the edge of irony.
In a rural scenery in the throes of difficult changes lives a humble but promising young farmer girl called Mari Pataki. Her father forbids her from seeing the man she loves. The father, above all preoccupied by work on the fields and prospective wealth, decides to give his daughter in marriage to an old but rich man with whom he does business. Land marries land, he says. This seems to be the unyielding rule of the Hungarian peasantry. But the young lover is ready to stand up to any challenge to keep Maris love.
PFC Molnár decides his WWII services are over, and with serious money hidden in his hand grenades, he heads to an abandoned mansion where he encounters not only the sour butler but a bunch of others who also try to wimp out of their duties.
Gergő and his high-school friends, the “Pack”, live for sex, parties and racking up views on their online channel. As their videos grow increasingly extreme, a house party turns tragic when they single out Lilla as their next victim. In a single night, their reckless game shatters the illusion of invulnerability in Budapest’s youth scene.
The story takes place at the end of World War I and in the period that followed. It focuses on an intellectual family from Temesvár with three sons.
A grey-haired man walks through the fields. Fatigued, but with the same tenacity he roams the roads, the pathways, the tracks every day, medical bag in hand. Everyone awaits him: desperate or in hope, to the dying or to the woman in labour. He is the local GP. In fact, he is film director Imre Gyöngyössy’s father, the protagonist of one of his first short films. The personal narration based on the director’s poem is made complete by the pictures of Sándor Sára and István Gaál who were also active at Balázs Béla Studio at that time.
Eva Kerezkes is a young woman who lives alone in her apartment. After her parents' death, she was adopted by writer Tibor and his wife, Klara. Upon returning from a holiday in Italy, Eva performs various tasks around her apartment that reveal haunting information about her past sexual relationship with Tibor.
Ede (Dezso Garas) is in his sixties, and he is full of uncertainty about how he and his wife Kati (Mari Torocsik) will fare in the new post-communist regime in Hungary. At least before, he had some idea what he needed to do to get by, and even if he never made much money with his myriad schemes, they got by. Kati has got a real bug in her ear about their livelihood, and is hounding him to get into the spirit of the new system. This is troubling enough for the old gent, but when he runs into an old mistress (Kati Lazar) and discovers that he has a grown son he has never met or knew about, his life becomes even more confusing. His slimy ex big-shot brother-in-law (Istvan Avar) is a major player in the new entrepeneurial risk-taking, and he beseiges poor Ede with advice as well. In this topical comedy, all these worrisome things, and more, come to a head at a big family celebrtion.
The protagonists of a comic Romeo and Juliet story full of gags are two widowed pensioners. Nádor and Mrs. Komáromi meet in the cemetery while mourning their dead spouses and they fall in love.
In this short exploration of sensual audio-visual stimulation, the repeated rituals of an online performer have a transfixing effect on her viewers. What starts as an exploration of tactility, addiction and control soon descends into a nightmarish dance performance where no rules apply.
Events come through medieval haze in a fantozmagorik city. Under the rocky roofs and the murky wall a frightening mixture of wildlife with fragile hatreds with renewed love of death. Metaphors have to say that power abuse has the same essence but different performances.
The main character, Béla Hackspacher, is a forklift driver. He lives in a small rented flat with his wife Irén, his two children, his mother-in-law and Rózsika, a subtenant who is about to become a dance singer. Béla learns at a community cultural programme that he has a 12 on the toto. The show stops, to great joy. The day arrives, 23 October 1956, when Béla can collect his prize.
A heartwarming story about a group of small, seemingly insignificant creatures who discover their inner strength and courage, banding together as a team to overcome significant challenges, demonstrating the importance of responsibility and the power of working together, even when faced with seemingly insurmountable odds.
At the end‐of‐year assembly, Tibor and two friends are browsing Lady Sandra’s website on a computer when the school radio announces he’s flunked history, dashing his plans for a Croatian holiday, parties and picking up girls. Instead, he’s sent to his father’s Flamingó Hotel in Balatonfüred to cram for the makeup exam. The once‐Soviet-era resort is barely recognizable, save for familiar faces: childhood friend Józsi, caretaker Tunyogi’s daughter Kata and kind Aunt Rózsi. Just as everything seems hopeless, a mysterious beauty arrives, and Tibor is convinced she is Lady Sandra, the woman of his dreams.
Two actors and a theater assistant live in modest circumstances in a rented apartment in Budapest. The two men constantly play cards with each other in symbolic stakes, and Béla Bognár's wife, Piri, runs the household. However, the atmosphere is good, and they quote dialogues appropriate to the given situation from the texts of their roles.
An aging Casanova, long dead, is resurrected when factory heiress Susanne Hilmer’s longing brings him back as the modern “Knight Heinrich Holanden,” only to trail a trail of broken hearts, from Susanne and her sister Margarete’s suicides to would-be lovers Ninette and the Countess, before he’s grievously wounded and cared for by the pure-hearted Baroness Livia. When Livia, the only woman he ever truly loves, takes her own life in shame, Casanova, heartbroken, returns to his tomb, closing the door on his final, unfulfilled passion.