Csoma Judit

Felix, a thirty-something furry is still living with his mother. His life changes dramatically when gets his dream job, where he needs to wear his Fursona costume. This opportunity helps him leave his mother’s tyranny behind and start a new life with an understanding partner, who appreciates his uniqueness.

A short semi-animated experimental film about the ups and downs of nose-blowing and probably life itself. Csáki's latest animation tests of various technics and his Super8 recordings are compiled as a found footage film, which might reflect to the COVID-19 pandemic as well. An adaptation of the poem 'Bagatelle' by George Petri.

If we are not careful, years have passed, and our life have become completely monotonous.

Kapa, Pepe and Mesi would like to buy a scrapyard of trains, to start a nostalgia train and earn a lot of money. The capital to start with they want to get from grandpa, who has come home from America with a suitcase full of money. Everybody wants Mesi to approach the old man, because she is the only one he would speak to. But Mesi is more concerned with the idea that she wants a child, by now from anyone, while Pepe is jealous. Kapa’s alleged son emerges, with the mafia behind him: they, too, are eager to get grandpa’s money. After threats and blackmailing, poisoned apples are sent, with only one side of them poisonous. Those dead, by the way, are resurrected by the sound of a song. At last, nobody manages to get the money, but it wouldn’t make sense anyway: it’s all fake. The Statue of Liberty, however, turns out to be blind.

In the Kerepesi Street cemetery, three grave diggers contemplate the fate of the world, then they step out of this role and in a sequence of episodes they play the typical figures of contemporary Hungarian reality, the fat cat, the swashbuckler, the victim, underworld chieftains, and present little absurd dramas of love, marriage, friendship, public order and legal safety. The author and the film director walk among them all the time, contemplating, laughing at their plays. The stories starting from the graveyard and returning there warn of the inevitability of death. The author and the director (Gyula Hernádi and Miklós Jancsó) wisely make friends with death.