Benedek Fliegauf

Benedek Fliegauf – Rengeteg AKA Forest (2003)

Hungarian director Benedek Fliegauf makes his feature-length debut with Rengeteg (Forest). Shot on digital video, the episodic film is composed of a series of seven different intimate parts bookended by footage of the same people in a large public space. These characters aren’t given an introduction, context, or even character names. Cinematographer Zoltan Lovasi shoots the ensemble cast of non-actors exclusively in close-ups, so the larger situation is never made completely clear. Each segment involves a small group of people in some kind of intense and possibly disturbing conversation. ~ Andrea LeVasseur, All Movie Guide Read More »

Benedek Fliegauf – Tejút AKA Milky Way (2007)

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Though Milky Way is perhaps Fliegauf’s most experimental film yet, it’s always accessible and mesmerisingly beautiful. It consists of ten lengthy landscape shots filmed with a static Scope camera, most of them featuring subtly modulated sound and human figures engaged in what initially appear to be strange, arcane rituals. There’s no overall plot – though the painterly scenes proceed from night through various exquisitely captured daylight hues and back to night again – but each vignette suggests some sort of small, mysterious narrative, be it suspenseful, sad or (as if often the case) drily funny. Read More »

Benedek Fliegauf – Dealer (2004)

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“In an impressive follow up to his debut film Forest, Benedek Fliegauf tells the uncompromising story of a day in the life of a drug dealer. His clients include the leader of a religious sect, a friend who needs a final fix, a former lover who has had his child, a student, and a black marketeer. Fliegauf’s film recreates life in a city that resembles a ghost town, an alienated world with its own priorities and realities. It is, he says ‘. an imaginary city with a strongly spiritualist atmosphere. This necropolis is the film’s real protagonist’. His subject is depression (‘a state of consciousness that saturates the life of .too many of us’) and the film provides a deeply felt testament to the realities of a painful and still little understood world. An admirer of Béla Tarr, Fliegauf similarly allows his characters to exist in extended (or real) time, with a minimalist style in which every sound or line of dialogue becomes privileged. The framing, camera movement, and sound design combine to create hypnotic film-making of a high order. It is a demanding and essential film and no mere exercise in miserabilism.”

Peter Hames Read More »