Allegory of the Tree: Enyedi’s Masterful Meditation on Human Progress
The metaphorical subtexts germinating to fruition through Ildikó Enyedi’s Silent Friend are formidable, even as,...
I Will Be Your Father Figure: Nemes Paints Period Paternity Thriller
Hungarian director László Nemes essentially rounds out a thematic trilogy with his third film...
Winner of the top prize in the Orizzonti section at this year's Venice Film Festival, Gábor Reisz's expansive, multi-viewpoint slow-burn features a deep political...
A Teacher Fights For Her Job In Katalin Moldovai’s Simmering Indictment of Hungary’s Culture Wars
Agnieszka Holland’s largely forgotten (and quite awful) 1995 biopic Total...
White Plastic Sky
With an earlier track record that includes Sundance short Les Conquerants in '12 and Clermont-Ferrand's Leftover '16, Hungarian filmmaker tandem Tibor Bánóczki...
Women face a complex and compounded pressure of perfection when it comes not just to initial reception of their artistic achievements, but also their...
Lover Come Back: Horvat Forges Queasy Love Connection with Projections and Perceptions
For her sophomore narrative feature, the intoxicatingly titled Preparations to Be Together for...
Meandering with the Living and...the Dead: Felméri Offers Absorbing Sunken Lake Drama
In Spiral, the dead don’t come back, but rather, they attempt to haunt...
The thrill of meeting Marjane Satrapi reminded me of being 6 years old at Disney Land when I met the living, breathing Cinderella. Except Cinderella was an actress with a blond wig and Marjane is the real woman behind her autobiographical graphic novel, turned movie, “Persepolis”. The distinctive mole on her nose and her dark sultry eyes rose off the page and appeared in front of me, smoking and speaking with a French accent.