From 1981 onwards, Jancsó’s films are characterised by a loss of structure. Gábor Gelencsér examines the order and chaos in Jancsó’s art and how it affects the meaning of these works.
The present is neither a beginning nor a conclusion:
if there is such a thing as catastrophe, this is it.
Mihály Kornis: A krízis és a divatja
(Crisis and its Fashion)
Sándor’s mistress going through a line of policemen, beatings, a naked body falling, a rampart, an abandoned space, blank looks, open fields, the stark horizon. Movement becoming a symbol for the domination of space.
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