Karoly Makk’s contemplative film about two unmarried sisters who cast wistful glances back at their lives, yet still believe in hope and love. Told in the form of an epistolary novel, and utilizing vivid images to convey the character’s innermost thoughts, the film is a serious, stylistically daring, and deeply involving drama. As with Makk’s previous international success, Love, the director exhibits an extraordinary skill at drawing emotionally compelling performances from his talented female leads. In the end, Cat’s Play opposes the bleakness of the outside world with themes of passion, love, and loyalty. Continue reading
Interesting crime story about woman-prisoner, incest and murder.. Continue reading
Zoltai (Andras Balint) is a Hungarian professor who returns home after a visit to the United States. Following a television interview, he commits suicide and leaves a note for his longtime friend Dr. Bardocz (Gyorgy Cserhalmi).The doctor and Zoltai’s colleague Komindi (Jozsef Madaras) join the police in investigating what drove the man to suicide in this surrealistic drama. Continue reading
Dorothy Segda essays three roles in the Hungarian-made My 20th Century. The film begins with the birth of twin girls to a Budapest mother (Dorothy Segda) in 1880. Orphaned early on, the girls are forced to sell matches on the streets until both are adopted by two separate families. Flash forward to 1900: Having lost track of one another, the grown-up twins take separate compartments on the Orient Express. One of the girls (Segda again) has become the pampered mistress of a wealthy man; the other (Segda yet again) is a bomb-wielding anarchist. Director Ildiko Enyedi evidently intended My 20th Century as an allegorical statement concerning the status of women in the modern mechanical age. The experiences of the twins are interspersed with shots of Thomas Edison (Peter Andorai), whom we see at the beginning of the film perfecting his incandescent light bulb on the very day that the sisters are born. The more technological advances made by Edison, the more confused the twins become in establishing their own roles in an advancing civilization. Adroitly avoiding cut-and-dried symbolism, Ildiko Enyedi keeps the audience wondering what she’s up to by including such surrealistic vignettes as a caged chimpanzee recounting the day of his capture! Continue reading
German philosopher Friedrich Nietzsche witnessed the whipping of a horse while travelling in Turin, Italy. He tossed his arms around the horse’s neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did happen to the horse? This film, which is Tarr’s last, follows up this question in a fictionalized story of what occurred. The man who whipped the horse is a rural farmer who makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master’s commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale. Continue reading
This movie is the very last opus of a great Czech director Frantisek Vlácil(1924-1999; Markéta Lazarová, Valley of the Bees, Concert at the End of Summer) and it’s truly his masterpiece.
In a breathtaking way it narrates some episodes from the life of possibly the most famous Czech poet Karel Hynek Mácha (1810-1836). Actually the title of the film “Mág” may have two meanings, the first one (a mage) refers to the talent of the deeply romantic Mácha (played by outstanding Jirí Schwarz), the second one is the contemporary transcription of Mácha’s most famous poem Máj (May). Continue reading
Two days in the life of Saul Auslander, Hungarian prisoner working as a member of the Sonderkommando at one of the Auschwitz Crematoriums who, to bury the corpse of a boy he takes for his son, tries to carry out his impossible deed: salvage the body and find a rabbi to bury it. While the Sonderkommando is to be liquidated at any moment, Saul turns away of the living and their plans of rebellion to save the remains of a son he never took care of when he was still alive. Continue reading