András Szirtes

A bee-keeper initiates fight against the society of consumption for saving the bees.

As a child, she lives happily ever after as a goose-herder girl, although her dreams are already foreshadowing her sad fate. She spends her adolescent years with nuns, who discipline her harshly, leaving deep, unhealed scars on her soul. Her true, great, one and only love seems to be fulfilled, but he wants to leave her. She won't let him, she's embracing his love, all of it. They lock her up in a madhouse. That's where the therapist will find it. The relationship between the two of them, the evocation of each other's personalities, is the theme of the film, which raises the question: which of them is the patient?

This experimental film, reminiscent of Csontváry's paintings, creates the character of the "Lenz" of the 20th century. The hyper-sensitive polihistor of the second millennium is no romantic, literary man suffering from schizophrenia, but a nuclear scientist suffering from radio-active contamination. Lenz is sent to rest to the mountains by his doctor.

By the notes of Fiáth Pompeiusz, the one-time friend of Kapa and Pepe, Professor Szirtes has solved the secret of the time machine, and he realizes the invention relying on "special" H2O. Kapa and Pepe shall return by it into the past in order to set time right, which is out of joint, that is, to correct history, to save King Louis II, and prevent the Mohács Disaster. Pepe yields to the not too tender persuasion to enter upon the great journey through time, dies and revives, and they arrive at the battlefield of Mohács in time. Kapa films the events. The Turks win and cut off the king’s, Pepe’s, head, still the Hungarians dictate the peace treaty. Kapa and Pepe want to return, they fill the time machine up with water from the well, yet it won’t start. Even so Kapa and Pepe hover over Budapest and quarrel.

Jancsó’s farce, similar to the previous ones, is about our time and about death. Pepe marries into a family of mafiosi, with the father-in-law rolling in money. In a joint venture they establish the first Hungarian Prison Limited company, where there is a menu, the prisoners are residents, and they furnish the place of execution for those volunteering to execute themselves. It turns out that the first voluntary hanging should be demonstrated on Pepe. In 180 AD Emperor Marcus Aurelius is dying in Vindobona, being fed with blades of hay by uncle Miki himself, and his son Kornél Mundruczó. Kapa provides for communication: he insists on telling lies, lies and again lies. Furthermore, there are several to die and to revive, to win and to lose, and Melancholy Béla is still alive.

The film is a series of sketches in the genre of the happening, describing the state of mind of grass-roots intellectuals during the early 80s. In situation games, six people portray their environ-ment purely by the tools of the pantomime, in a visual, meta-communicative way. The absurdity of the world is shown in a fullness typical for the childhood world of the protagonist, a young teenage girl. This absurdity is just as much present in faceless bureaucracy, social deviation, atomisation, wars and the scenes of diplomacy fighting a perfect Babel, as it is there in the soon to disappear spheres of intimacy, i.e. scenes of love, family and leisure, interwind in each other. The scene of the leaf swarming with Pronuma clusters also proves the same.

Scratched film stock that reminds us that film remains in a state of birth, a shocking poem of physical suffering and the danger of organized violence that can be denied by a cynical but free gesture.

Scratched film stock that reminds us that film remains in a state of birth, a shocking poem of physical suffering and the danger of organized violence that can be denied by a cynical but free gesture.

Film journals are constantly being made and edited and end in death - Szirtes's intimate social journals are an epic, multi-layered system, a remarkable reflection of an individual and of contemporary mores.

Film journals are constantly being made and edited and end in death - Szirtes's intimate social journals are an epic, multi-layered system, a remarkable reflection of an individual and of contemporary mores.

A film study in which the symbol of flight which contradicts human limitations inspires an emotional rhythm of scenes varying along three lines: the human desire for the sky (the first attempts for flight), the death of birds (experiments on animals) and the death of a human being in heights (a fall which isn´t a flight).

As a child, she lives happily ever after as a goose-herder girl, although her dreams are already foreshadowing her sad fate. She spends her adolescent years with nuns, who discipline her harshly, leaving deep, unhealed scars on her soul. Her true, great, one and only love seems to be fulfilled, but he wants to leave her. She won't let him, she's embracing his love, all of it. They lock her up in a madhouse. That's where the therapist will find it. The relationship between the two of them, the evocation of each other's personalities, is the theme of the film, which raises the question: which of them is the patient?

A romantically charged cinematic poem capturing the mood in Budapest in the late 1960s and early 1970s, in a work inspired by avant-garde films of the 1920s and directors such as Walter Ruttman and Dziga Vertov.

A very loose adaptation of Master and Margarita, but for all that, it is explicitly based on Bulgakov's novel, in a thoroughly experimental way. What you see in this film is documentary-like scenes shot with a simple video camera in Moscow and Budapest, and New York, and these scenes are linked to the novel by some explicit links, and by these, the film goes beyond the level of being but a visual documentary which would only have reminded the viewer of The Master and Margarita.

This experimental film, reminiscent of Csontváry's paintings, creates the character of the "Lenz" of the 20th century. The hyper-sensitive polihistor of the second millennium is no romantic, literary man suffering from schizophrenia, but a nuclear scientist suffering from radio-active contamination. Lenz is sent to rest to the mountains by his doctor.

Szirtes's masterful experimental work is a dazzling composition of several years of filming within an industrial macro/microcosm, an abstract model of revolution and the beauty of daybreak.

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The film is a series of sketches in the genre of the happening, describing the state of mind of grass-roots intellectuals during the early 80s. In situation games, six people portray their environ-ment purely by the tools of the pantomime, in a visual, meta-communicative way. The absurdity of the world is shown in a fullness typical for the childhood world of the protagonist, a young teenage girl. This absurdity is just as much present in faceless bureaucracy, social deviation, atomisation, wars and the scenes of diplomacy fighting a perfect Babel, as it is there in the soon to disappear spheres of intimacy, i.e. scenes of love, family and leisure, interwind in each other. The scene of the leaf swarming with Pronuma clusters also proves the same.

The film is a series of sketches in the genre of the happening, describing the state of mind of grass-roots intellectuals during the early 80s. In situation games, six people portray their environ-ment purely by the tools of the pantomime, in a visual, meta-communicative way. The absurdity of the world is shown in a fullness typical for the childhood world of the protagonist, a young teenage girl. This absurdity is just as much present in faceless bureaucracy, social deviation, atomisation, wars and the scenes of diplomacy fighting a perfect Babel, as it is there in the soon to disappear spheres of intimacy, i.e. scenes of love, family and leisure, interwind in each other. The scene of the leaf swarming with Pronuma clusters also proves the same.