This paper analyses the film entitled The Prize Trap (Jutalomutazás) directed by István Dárday, which counts as one of the most emblematic examples of the so-called docu-features in Hungary. The The Prize Trap represents an exciting and idiosyncratic symbiosis of documentary and feature cinema, and as such, it may offer useful insights into the nature of reality and fiction as … Read more

In this article the author analyses Benedek Fiegauf ‘s latest feature film, the Milky Way (Tejút, 2007) in view of Abbas Kiarostami’s Five (2003) and the works of the Canadian artist, Mark Lewis. Fliegauf’s aforementioned feature film is also a contemporary work of art, which was first exhibited in Hungary, in the Ludwig Museum in Budapest. The work is thus on the more and more … Read more

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 … Read more

Despite being commonly read as allegorical works, Jancsó’s early films are noticeable for their extreme realism. Iván Forgács examines how these two sit side by side as the director uses physical space to define the spiritual. Miklós Jancsó’s first film The Bells Have Gone to Rome (A harangok Rómába mentek, 1958) has remained almost unnoticed as a fluid piece of … Read more

Jancsó’s latest addition to the recent successful “Pepe and Kapo” series of films sees the heroes travel back in time to a fateful date in European history. Andrew James Horton argues that the director has never been more involved in contemporary politics. With each successive film in the “Pepe and Kapo” series, of which A Mohácsi vész (The Battle of … Read more

Sas has flipped back and forth between near-experimental art house works and unbearable mainstream mush. Andrew James Horton finds his latest commercial film to be a convincing popular work, despite being marketed at teenaged girls. The career of Tamás Sas in Hungary has been as erratic as that of Gus van Sant in Hollywood, veering from art house chamber drama … Read more

Jancsó’s career rebounded in the late 1990s with a work that won him instant recognition from the critics and found him a new, young audience. Andrew James Horton looks at the first of the films to feature Pepe and Kapa. Miklós Jancsó is possibly the most famous and most highly regarded Hungarian director of all time. His reputation rests on … Read more

Jancsó’s recurring interest in Jewish culture is one aspect of his work that has consistently been overlooked by most critics?including Hungarian ones. György Báron reflects on the director’s hitherto unrecognised obsession. “Jewish themes”? Let’s put the term in quotes, because what would count as a “theme”? The Hungarian-themed Szegénylegények (The Round Up, 1965)? The Russian (Soviet) Csillagosok katonák (Red and … Read more

Jancsó’s films are frequently set in obscure moments of the past, such as 1919, suggesting a degree in European history is needed to understand their context. Andrew James Horton argues that Jancsó is really not that interested in the past at all and merely uses it as a backdrop for timeless and mythic struggles. Miklós Jancsó is commonly perceived, particularly … Read more