During the Russian Civil War, the Red Army – aided by Hungarian Communists – and the White Army fight for control of the area surrounding the Volga.
MUBI wrote:
Set in 1919, during the aftermath of the Russian Revolution, Miklós Jancsó’s The Red and the White is a war film unlike any other. In the brutal Civil War which took place, Hungarian volunteers supported the ‘Red’ revolutionaries in a war of attrition against the ‘White’ counter-revolutionaries.Read More »
From filmjournal.net and torinofilmfest.org
One of the most impressive Hungarian directorial debuts, Ten Thousand Days offers clinching proof that Miklós Jancsó wasn’t the only mid-1960s master offering breathtaking widescreen compositions featuring hundreds of men and horses. Shot by Sándor Sára, then well on his way to cementing his reputation as one of Hungarian cinematography’s greatest visual artists, the film routinely throws up stunning shots: mass wheat scything, dozens of horses crossing a bridge to market (followed shortly afterwards by train wagons crossing the same bridge heading in the opposite direction, a neat visual gag on technological progress), prisoners doing hard labour on a rocky hillside, numerous public festivities crammed with local colour. The aesthetic impact alone makes it’s easy to see why this once had a considerable international reputation, even achieving a commercial release in Britain.Read More »
The films follows a Hungarian refugee arriving in London, speaking no English and with little money…
IMDB:
Hungarian refugee Tibor Molnar has arrived in England, picking London as his new place of residence. The film follows him as he wanders the centre of his new home and tries to find his lodgings at 25 Love Lane – but with no other information than this and the name of his landlord, he finds himself with a long day of travelling to find which Love Lane it is.Read More »
Set in a detention camp in Hungary 1869, at a time of guerrilla campaigns against the ruling Austrians, Jancsó deliberately avoids conventional heroics to focus on the persecution and dehumanization manifest in a time of conflict. Filmed in Hungary’s desolate and burning landscape, Jancsó uses his formidable technique to create a remarkable and terrifying picture of war and the abuse of power that still speaks to audiences today.Read More »