Mihály Víg

Inhabitants of a small village in Hungary deal with the effects of the fall of Communism. The town's source of revenue, a factory, has closed, and the locals, who include a doctor and three couples, await a cash payment offered in the wake of the shuttering. Irimias, a villager thought to be dead, returns and, unbeknownst to the locals, is a police informant. In a scheme, he persuades the villagers to form a commune with him.

A surrealistic-grotesque vision about the unlimited adventures of human mind in space and time.

The film brings together various everyday and relationship stories from Budapest that at first glance have nothing in common. A sequel to Fliegauf's 2003 film 'Forest'

In socialist Hungary, during the early 1980s, underground art flourished. In this often loud, heroic, and emotion-rich world, Vig Mihály, a key member of Balaton/Trabant, represented lyricism, intimacy, and internal journeys. He composed music for the films of János Xantus, András Szirtes, and Ildikó Szabó, and later became the regular composer for the world-renowned director Béla Tarr (and was even given a lead role in the 1994 film Sátántangó). In the documentary film, he speaks about his life, the atmosphere of the era, people associated with alternative culture, and his relationship with them, in an extremely personal and detailed way. We learn his thoughts on literature, music, film, and, in general, the world. He is a relaxed, funny character who is aware of his own limitations, does not deny the darker sides of his personality, but is able to look at his fate with satisfaction.

Revisits of locations on the Great Hungarian Plain - the puszta - that were used in Tarr's Sátántangó and Werckmeister harmóniák. Recitations of short lyric poems by Hungary's national poet Sándor Petofi.

János Baksa-Soós, aka Prince January. A man who influenced those who influenced us. “Sometimes you have to make time for a whole life!” he said. He did, and we explored his incredible life. Starting from Zoltán Kodály, we fly over downtown KEX concerts, dive into the deepest recesses of Berlin punk and end up who knows where. Somewhere in the cosmos.

A documentary about the making of The Turin Horse, the last film directed by Hungarian master Béla Tarr.

The last ship (Utolsó hajó) is leaving the quay. Sirens are sounding.

Director Janos Xantus was in the middle of making a video about Hungarian rock star Tamas Pajor when his subject suddenly became a convert to born-again Christianity. As a result, Xantus was able to record the startling transition. Pajor had been a hell-bent rocker, heavily into drugs, and known for a violent temper. We see him become a clean-living, clean-cut youth who sings about Jesus. Xantus had captured pre-conversion tape of Pajor trashing a hotel room and punching his hand through a plate glass window. In one of this film's most effective scenes, the new Pajor, hand heavily bandaged, quietly watches this footage. Rock Terito also has some dramatic recreations, but these add little to our understanding of Pajor. The transfer from video to film was generally effective, but some scenes are murkily lit. ~ Clarke Fountain, Rovi