Hungarian Film - Berlinale 2018

Hungarian Film Magazine THE 2018 BERLINALE ISSUE

All Eyes on the Oscars

Ildikó Enyedi’s ‘On Body and Soul’ is Among the Nominees

The Birth of ‘Genesis’

Árpád Bogdán is Back at Panorama with his Latest Feature Published by

Meet the New Leading Ladies Alexandra Borbély, Best European Actress; Réka Tenki, Shooting Star

“... one of the most handsome black-and-white films since Federico Fellini’s 8 1/2.”

(The New York Times, Vincent Canby, November 9, 1990)

ssics a l C e l a n i Berl screening ry, 7 p.m. a u r b e F 20 X8 Cinemax

photo by Péter Kőhalmi

A Year of Gold and Great Returns Hungarian cinema made a great leap forward in 2017. Not only did prestigious international film festivals continue to select Hungarian titles for competition or put Magyar film in focus in their programmes, but Hungarian audiences also turned towards the new titles with great interest and anticipation.

The year began with a BAFTA for Best Foreign Film won by László Nemes for ‘Son of Saul’. This was soon followed at Berlinale by the Golden Bear won by the returning helmer Ildikó Enyedi for her latest feature ‘On Body and Soul’. And we were all extremely proud when Kristóf Deák won an Oscar for his short film ‘Sing’, which praises choir singing and shows solidarity with both sensitivity and humour.

After nine years Gábor Herendi’s ‘Kincsem - Bet on Revenge’ premiered in March. The film is about the master of a record-breaking racehorse and it broke records at the box office. Kornél Mundruczó returned to Cannes with his ambitious new thriller ‘Jupiter’s Moon’, about a levitating refugee.

Eight years had to pass until we could see the new film by veteran filmmaker Márta Mészáros: ‘Aurora Borealis’ is a period drama about family roots and conflicts. Éva Gárdos directed the autobiographical film ‘American Rhapsody’ back in 2001, and she has since returned with ‘Budapest Noir’; based on a successful book, the film is a stylish thriller that takes place in Budapest in 1936.

Nimród Antal’s debut film ‘Kontroll’ was released in 2003, and in December we were able to see his much-awaited Hungarian film ‘The Whiskey Bandit’. By the end of the year admission numbers had amounted to 1 300 000, the highest they have been in 10 years.

After ‘On Body and Soul’ won the Golden Bear last year, Hungarian cinema is back in Berlin. Árpád Bogdán returns to Berlinale with his second feature ‘Genesis’, which will screen as a Special in the Panorama programme. To me the film represents a triptych: three different characters, three different fates, all connected in one strong story.

It is clear that these gold and great returns are an inspiration to the new generations of the Hungarian cinematic community, as 2018 will see many first films being released. I wish them success both nationally and internationally. Ágnes Havas CEO, Hungarian National Film Fund

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Content

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A Year of Gold and Great Returns

Opening Words from the CEO of the Hungarian National Film Fund

6 News

8 The Hungarian Film Community 12 The Year Hungarian Films Packed Local Cinemas 14 Admissions of Hungarian Films in 2017

TOP 10

15 Supported in 2017

By the Hungarian National Film Fund

16 Media Patronage Programme

The Year with the First Oscar

18 Projects That We Can Be Proud of

Ádám Paszternák, the Director at Creative Europe Desk Hungary

20 Access to Cinematic Knowledge and Experience

The Hungarian Film Fund’s Role in Film Training and Education

22 2018 for the Hungarian Film Archive

Q&A with György Ráduly, the Director of the Film Archive

24 2017: Another Shining Year of Hungarian Film 26 When Hollywood Comes to Town

28 From Berlin to Berlin 30 Rebuilding the Moral Firewall

Interview with Árpád Bogdán and Andrea Taschler, the Duo Behind Genesis

34 ‘My 20th Century' - A Wonderful First Film

Among the Berlinale Classics

Ildikó Enyedi is Back in Berlin

36 Meet Hungary’s Shooting Star

Réka Tenki

38 Meet the Best European Actress

Alexandra Borbély

40 To Depict the Unimaginable in an Interesting Way

Interview with Animation Director Réka Bucsi

42 Young Hungarian Animators 45 Rotting Hamlet

Searching for the Avant-Garde Shakespeare in Péter Lichter

and Bori Máté’s ‘The Rub’

46 Coming Soon

Upcoming films: various genres and authors, long-awaited first features and comebacks

54 New Films from Hungary

The latest titles in every genre with cast, crew and contact details

56

Feature Film

65

Feature Documentary

67

TV Drama

68

TV Documentary

69

Educational Documentary

70

Short Documentary

71

Short Film

76

Short Animation

79

Short Animation Series

80 HNFF World Sales - EFM Line-Up Highlights

News And the Oscar Goes to…

The Academy Award nominations were announced in January, and once again we have a Hungarian movie to root for. ‘On Body and Soul’ is the third Hungarian film in a row after last year’s short film nominee (and eventual winner) ‘Sing’ and the triumph of ‘Son of Saul’ in 2016. Ildikó Enyedi’s Berlinale Golden Bear-winning movie is one of the five films nominated in the Foreign Language Film category – more on this amazing news and the film’s triumphant year on page 24!

Enyedi’s team is not the only one we can root for on the 4th of March, however. The sound mixer Mac Ruth received his third consecutive (!) Oscar nomination for his work on ‘Blade Runner 2049’. Ruth, an American who has been living and steadily working in Hungary since the 1990s, was previously nominated for ‘13

A Sundance with Some Hungarian Joy The documentary 'A Woman Captured' (directed by Bernadett Tuza-Ritter, produced by Julianna Ugrin and Viki Réka Kiss) was the first ever Hungarian featurelength movie in competition at Sundance (more on this on page 25!), but there was more great news to celebrate as well.

Two films that were shot in Hungary debuted in Sundance this year. 'Colette', a period drama with Keira Knightley, sold its domestic rights for $4 million to 30West and Bleecker Street, while ‘Lord of Chaos’, Jonas Akerlund’s 1980s-set biopic of notorious Norwegian black metal band Mayhem, also debuted to good reviews.

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Hours’ and ‘The Martian’. This time he shares the nomination with Ron Bartlett and Doug Hemphill.

'On Body and Soul'

‘Blade Runner 2049’ was entirely filmed in Hungary, and Denis Villeneuve’s follow-up to the classic scifi collected a total of five Academy Award nominations.

Besides sound mixing, the film is also competing in the sound editing, visual effects and production design categories, and DOP Roger Deakins is the front runner in the cinematography category.

A little known fact is that the indie drama ‘Mudbound’ also spent a few days filming in Hungary! Dee Rees’ drama received four Oscar nominations, including a historic first: DOP Rachel Morrison is the first female nominee in the Best Achievement in Cinematography category.

'A Woman Captured'

Hungarian producer Judit Stalter (who works at Laokoon Filmgroup, the company behind 'Son of Saul') was a producer on the documentary '306 Hollywood', which was competing in the NEXT section, which showcased bold new US movies.

Hungarian cinematographer Marcell Rév (the DOP behind Kornél Mundruczó’s last two films, ‘White God’ and ‘Jupiter’s Moon’) was also in attendance:

his first American movie, ‘Assassination Nation’, had its world premiere in Park City. The Sam Levinson-directed wild teen satire became Sundance’s biggest hit this year: more than $10 million was paid for worldwide rights, coming with a wide release commitment in North America. Rév has since made his second movie in the United States: the Barry Levinson-helmed HBO telefilm ‘Paterno’, starring Al Pacino.

News Classic Films Soar Online Last year the Hungarian National Film Archive had a surprise in store for Hungarian film lovers: it made 60 films available for free online, just in

time for Christmas. The films included classics such as ‘Somewhere in Europe’ (1947) and ‘Time Stands Still’ (1981), as well as little-known gems like short films from all eras of the past century, including

silent newsreels. Zoltán Fábri’s many films became available as we celebrated the 100th birthday of one of the masters in Hungarian cinema. These movies were all part of the restoration project of the Hungarian National Film Archive.

Originally planned to only be available online for 20 days, the public’s interest was a pleasant surprise: more than 750 000 views were counted, so the Hungarian National Film Archive extended the window for a further 10 days.

Hungarian App to Help Discussions at EFM

Hungarian Project Wins Support from Biennale College - Cinema

Hungarian Dávid Sarlós will present his app ‘Vialog’ after it became one of the 10 selected projects at EFM Horizon. Taking place between the 16th and 20th of February, EFM Horizon aims to support the transformation of film and media sectors through an interdisciplinary approach.

The 6th edition of Biennale College – Cinema commenced early December 2017, and one of the three projects supported is a Hungarian debut film. Petra Szőcs’s ‘Deva Mall’ will receive a grant of 150 000 euros, along with the chance to premiere at the 75th Venice International Film Festival in 2018.

short competition of Cannes in 2014. ‘Deva Mall’ is co-written by frequent collaborator Gergő Nagy V. and is being produced

by Péter Fülöp.

Petra Szőcs

Petra Szőcs has already seen success with her previous short films – most notably ‘The Execution’, which was in the

Film Week to Celebrate Hungarian Cinema ‘Vialog’ is an app for threaded video reviews.

One can browse and track Berlinale and EFM discussions about movies that matter, as well as comment on any film of the festival by using ‘Vialog’ in order to win prizes. Sarlós, the founder of the app, will attend EFM Horizon with Sean Walpole, the Head of Legal and Acquisitions. The team has been awarded funding by Innovate UK, the United Kingdom’s innovation agency, and has collaborated with King’s College.

Right before Berlinale, the Hungarian Film Week will be held between the 7th and 11th of February. This year a record number of submissions has been registered, and the audience will be able to watch a total of 18 features, 59 documentaries, 4 madefor-TV movies, 21 shorts and 29 animations in competition, with many others (including school projects) screening out of competition.

will also be the opening night screening.

During these few days, members of the Hungarian Film Academy can watch the films for free, while the general audience will have to pay a symbolic price of 1.6 euros. The awards ceremony will be held on the 11th of March, and trophies will be given in a total of 23 categories.

Some classic movies will also be screened, including István Szabó’s newly restored 1980 classic ‘Confidence’, which

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The

Hungarian Film Community Find out more about Hungary's recent success in cultural and industrial film: the market share has almost tripled in cinemas around the country; classic films have received spectacular visibility; and a new training programme has been launched.

HUNGARIAN FILM SUPPORT SYSTEM FEATURE-LENGTH FILMS SUPPORTED BY THE HUNGARIAN NATIONAL FILM FUND

Live Action Feature

Feature-Length Animation

Feature-Length Documentary

ANIMATIONS, SHORTS, DOCUMENTARIES, TV SUPPORTED BY THE MEDIA COUNCIL’S HUNGARIAN MEDIA PATRONAGE PROGRAMME

Short and Experimental Film

TV Documentary

TV Film

Animated TV Series

Short Animation

Educational Documentaries

Online Content

HOW CAN INTERNATIONAL CO-PRODUCTIONS APPLY TO THE HUNGARIAN NATIONAL FILM FUND? There is no separate call for minority co-productions, but all projects are encouraged to apply with a Hungarian co-producer on board. Each film is judged by the quality of the screenplay and the potential of the project.

APPLICATIONS

1.

Script Development

2.

Project Development

3.

Production

APPLICATION PROCESS Continuous Applications (No fixed deadlines)

Decision in 60 days

with feedback from readers More info: www.filmfund.hu

and the decision of the Committee

'Kincsem – Bet on Revenge'

'The Whiskey Bandit'

The Year Hungarian Films Packed Local Cinemas In recent years the box office of Hungarian films has started to show signs of life: ‘White God’ was a nice surprise and ‘Son of Saul’ became the hit no one saw coming - these and a few others foreshadowed what 2017 proved to be true: Hungarian audiences are hungry for local movies.

'Pappa Pia'

'On Body and Soul'

In 2017, a total of 1.3 million tickets to Hungarian film screenings in local cinemas were sold, which is a 9% market share – a huge improvement from recent years. Even better: this is not a result of just one movie over performing, as a total of four have crossed the magical 100 000 mark!

The romantic period movie ‘Kincsem – Bet on Revenge’ became just as invincible as its title character, the unbeatable 19th-century horse.

Directed by Gábor Herendi, the helmer of some of the most successful comedies of the past two decades (the first two ‘A Kind of America’ movies and ‘Hungarian Vagabond’), the horseracing love story became the most successful Hungarian film of the past ten years and the seventh most-watched movie since 1989.

‘Kincsem – Bet on Revenge’ also ranks high on the overall 2017 box office list, placing third, behind only ‘Star Wars – The Last Jedi’ and ‘Despicable Me 3’.

The year 2017 started well for Hungarian cinema: ‘On Body and Soul’ won the Berlinale’s Golden Bear. The movie was quickly released in cinemas, and audiences once again proved that after ‘Son of Saul’ an art-house film can indeed

'Budapest Noir'

become a box office wonder: Ildikó Enyedi’s film is a sleeper hit as it is still in cinemas – and now, after its Oscar nomination, it is back in the top 10!

Lakeside’ and ‘A Heap of Croscont’ were both edited from episodes of a popular TV series. The film versions made a somewhat disappointing 13 245 and 6 372 admissions, respectively.

Another Berlinale favourite was released in spring, and Ferenc Török’s ‘1945’ also collected a respectable 39 500 admissions.

The Hungarian National Film Fund welcomed the 1 millionth ticket buyer in November at a screening for ‘Budapest Noir’, but admissions for local movies grew even more when 'The Whiskey Bandit' was released. The action thriller set in the 1990s is based on the true story of a bank robber who became a kind of national hero as he managed to escape from the police for years, and then even fled prison. The film marked the return to Hungary for Nimród Antal, who after his cult movie ‘Control’ went to Hollywood and made films like ‘Predators’. His eagerly anticipated return and the well-known source material resulted in great numbers at the box office. ‘The Whiskey Bandit’ was cleverly released three weeks before the latest Star Wars juggernaut and debuted at number 1 in late November. The total admission number is currently at 318 781.

‘Brazils’ debuted in April and became a sleeper hit, gathering more than 74 077 tickets in total.

Directed by Csaba M. Kiss and Gábor Rohonyi, the comedy lightly deals with a serious topic (tension between the community of a small Hungarian village and its local gypsies), through soccer – what else!

The musical ‘Pappa Pia’ was the summer hit it was destined to become, a light counterblast to the Hollywood blockbusters. This is director Gábor Csupó’s first Hungarian movie in Hollywood, and the young cast performed some of the biggest musical hits of the past few decades – making the film Hungary’s answer to ‘Mamma Mia!’, if its title had not already given that away. One would think that an audience of 227 228 would be a box office king, but ‘Pappa Pia’ only reached third place in 2017.

Set in the 1930s, the thriller ‘Budapest Noir’ kicked off the autumn season for Hungarian films, and the movie – based on the first of the bestselling novel series – has now collected more than 50 000 tickets. Similarly, 'Aurora Borealis' by Márta Mészáros sought a more mature audience, which has sold more than 60 000 tickets so far.

Three feature-length animated movies were released in cinemas in 2017. ‘Tales from the

What’s in store for 2018?

Among many other promising titles Gábor Herendi’s ‘A Kind of America 3’ hopes to soar as high as its two predecessors (the first one had 529 187 admissions in 2002, and its sequel had 448 738 in 2008), while László Nemes’ ‘Sunset’, the follow-up to his Oscar-winning (and unlikely box office champ!) ‘Son of Saul’ is coming later in 2018. Gábor Reisz is also in post-production with his sophomore movie, the much-awaited ‘Bad Poems’. After his extra-lowbudgeted debut ‘For Some Inexplicable Reason’ surprised everyone, now all eyes are on him to see if he can repeat the success. No pressure!

Gábor Osváth

The 1 millionth viewer in 2017 photo by Norbert Kis

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ADMISSIONS OF HUNGARIAN FILMS IN 2017 TOP 10*

* As of 4 February 2018

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TITLE

DIRECTOR

ADMISSIONS

PRODUCTION COMPANY

Kincsem – Bet on Revenge

Gábor Herendi

456 666

Café Film

The Whiskey Bandit

Nimród Antal

318 781

Café Film

Pappa Pia

Gábor Csupó

227 228

Focus-Fox

On Body and Soul

Ildikó Enyedi

113 300

Inforg M&M Film

Brazils

Csaba M. Kiss, Gábor Rohonyi

74 077

Inforg M&M Film

Aurora Borealis

Márta Mészáros

61 016

FilmTeam

Budapest Noir

Éva Gárdos

51 047

Pioneer Pictures

1945

Ferenc Török

39 500

Katapult

Tales from the Lakeside

Zsolt Pálfi

13 245

Cinemon Entertainment

The Citizen

Roland Vranik

11 021

Popfilm

Juli Jakab in 'Sunset'

Supported in 2017 by the Hungarian National Film Fund In 2017, the Hungarian National Film Fund (HNFF) gave production grants to 11 projects for a sum of 12.5 million euros. The biggest amount was given to László Nemes, whose sophomore film ‘Sunset’ received 5.1 million euros (the movie is since in post-production). The comedies ‘A Kind of America 3’ and ‘Comrade Drakulics’ received 1.54 million euros and 1.44 million euros, respectively, while ‘Eden’, the much-awaited third film from Ágnes Kocsis was given 1.41 million euros.

Two debut features also received significant grants: Orsi Nagypál’s ‘Open’ received 1 million euros, while Béla Bagota’s Transylvania-set thriller was given 0.94 million euros. Three low-budget debut features of the Incubator Programme (by Ábel Visky, Zsófia Szilágyi and György Mór Kárpáti) received funding as well.

Also worth mentioning: 350 000 euros were provided for the latest installment of the ‘Wild Hungary’ nature film saga (previous films in the franchise were originally made for TV and supported by the Hungarian Media Patronage Programme).

Script development grants were presented to a total of 30 projects. Writers and directors to have received this support include prolific helmers such as Péter Gothár, Péter Gárdos and György Pálfi, as well as creators of popular movies like Kriszta Goda, Péter Rudolf and Dániel Tiszeker.

Young female voices are being represented by Virág Zomborácz and Fanni Szilágyi. On the documentary side, Tibor Kocsis received support to develop his latest soccer-themed film, this time about legendary player László Kubala.

A number of other grants were also given to a wide range of projects. Film festivals like Mediawave, Budapest International Documentary Festival, Jameson Cinefest and Friss Hús Budapest Short Film Festival all received support from the HNFF, as did the Oscar campaign for ‘Sing’. As a matter of course, the three biggest film schools (the University of Theatre and Film Arts of Budapest, the MoholyNagy University of Art and Design and Eötvös Lóránd University) received support for their students’ graduation movies.

Only one minority co-production was selected for funding in 2017 by the HNFF: Polish director Krzysztof Zanussi’s ‘Eter’ received 190 000 euros and is co-produced by Laokoon Filmgroup, the company behind ‘Son of Saul’.

Project development grants were also awarded to nine projects, of which three have already been moved into production. The other projects include new movies by Bence Fliegauf, Tamás Almási and Ildikó Enyedi, as well as debut films by Dénes Nagy, Balázs Krasznahorkai and actress Kata Dobó.

'A Kind of America 3'

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Media Patronage Programme:

'Sing'

the Year with the First Oscar 2017 was a year to remember for the Media Council’s Media Patronage Programme: the short film ‘Sing’ won the Academy Award in the Best Live Action Short Film category, making it the first Hungarian film ever to do so.

Congratulations to director Kristóf Deák and to producer Anna Udvardy!

This historic achievement is only the tip of the iceberg, and let us not forget the hundreds of other projects that are funded by the Media Patronage Programme each year.

A total of 49 documentaries were supported in 2017 for a total sum of 1 103 million euros, while 30 nature/education docs were allocated 825 773 euros. Authors such as Attila Mispál, Gábor Hörcher, Mihály Schwechtje, Gábor Zsigmond Papp and Márton Szirmai were all given support.

Other notable projects included András Dér’s film, which will be a documentary about József Antall, the first Hungarian prime minister after 1989, and Glória Halász’s latest documentary, which will chronicle the life and struggles of the legendary 100-member Gipsy Orchestra.

MTI

Five TV films were also supported, each receiving just over 380 000 euros. Trust was bestowed upon veteran helmers László Vitézy and Róbert Pajer once again, as well as talents Barnabás Tóth and Kristóf Deák, who is fresh off his Oscar win. Péter Bergendy represents the middle generation; the prolific commercial director’s previous TV-film ‘The Exam’ was the first in the wave of hit movies of this genre.

Animation is also an important part of the Media Patronage Programme. Previous hits include Réka Bucsi’s ‘LOVE’, which has now been selected for more than 160 festivals since its debut at the Berlinale Shorts in 2016 and was also a nominee at the European Film Awards in 2017, and Luca Tóth’s ‘Superbia’, which debuted at the Cannes Semaine de la Critique and now has an extensive list of festivals, including 76 more selections. In 2017, the total budget for individual animation projects and series was 1.22 million euros.

But which film will be the next ‘Sing’? The Hungarian Media Patronage Programme has a total budget of 480 000 euros for live-action shorts this year, but at the time of writing this article only the first half had been announced.

Young directors Szonja Szabó, Yvonne Kerékgyártó, Fanni Szilágyi and Attila Damokos are among the 12 who have already been chosen – fingers crossed!

Until you are able to watch these newly announced films, check out the end of this issue for the catalogue of Hungarian films and series that are already available and supported by the Media Patronage Programme (pages 56-79).

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FROM ANY OF THESE CATEGORIES?

DO YOU WANT TO SHOOT A FILM? Does it meet the Hungarian cultural test criteria?

Feature Film

Animation Film

Documentary Film

Experimental Film

TV Film

Short Film

WHAT CAN HUNGARY PROVIDE FOR YOU?

tax rebate of your overall production spendings

* 1 000 000 0

1 000 000

250 000

800 000

200 000

1 000 000

250 000

600 000

400 000

750 000

187 500

* Max. 1.25x of the Hungarian spend

More info: www.filmfund.hu

Projects That We Can Be Proud of

both the MEDIA and Culture subprogrammes, the calls themselves are entirely different.

When the Creative Europe Programme was launched Member States had to find a solution to bring the subprogrammes together. The Hungarian National Film Fund founded a company to coordinate everything, which is responsible for both subprogrammes. Almost half of the Member States are still run by two separate institutions, MEDIA and Culture. Compared to that I think our job is a bit easier.

The main task of the Creative Europe Desk is to assist by providing information about the programme. What else do you deal with?

Our job is to publicise the supported projects as much and as widespread as possible. Especially those in which Hungarian organisations are involved, of course.

Ádám Paszternák, the Director at Creative Europe Desk Hungary How did you get into the world of culture and film?

Ever since I was a child I have been looking out for film events and festivals. It’s also partly thanks to my mother being an employee at Hungarofilm at the time, where she worked on the overseas marketing of Hungarian films. When I was in high school I seriously thought about going into the film industry. I spent a lot of time going to the cinema and to film clubs. I ended up studying English philology and teaching, but film remained the centre of my attention. In 2004 I started working at the MEDIA Desk Hungary information office, which was launched at the same time as when Hungary became part of the European Union. During my 10 years there I was able to really get to know Hungarian and European cinema.

We also place great importance on publicising international professional film training programmes. We were very pleased to see that, according to 2016 data, no less than 69 young Hungarian cinephiles participated in the workshops supported by MEDIA. That’s the ninth-highest number of participants in all of Europe, which is not at all bad for such a small country.

Occasionally we ourselves organise professional training over one or two days. For example with the European Documentary Network we jointly organised the international seminar “Making International Documentaries” in 2015. On its second day the participants who had applied with a project received professional advice from the invited experts. Lastly, in October 2017, we invited one of the most prestigious production training organisers, the German Erich Pommer Institut, to Budapest. Together we organised a seminar called “Co-producing in Europe”. Kornél Mundruczó’s film, ‘Jupiter’s Moon’, which came into being

Since 2014 Creative Europe has been working as part of the same organisation under MEDIA and the Creative Europe Programme. Based on your several years of experience, how beneficial is it that they were brought under the same umbrella?

At the beginning it seemed a little unusual that two previously completely independent Support for development of slate funding | 8% EU programmes be brought together, 102 000 EUR but with time we got used to the idea. Once we became familiar with the Culture Support for content development of single projects | 6% subprogramme’s 80 000 EUR calls for proposal Promotion of European works online | 12% and domestic 143 171 EUR representatives, I had Training programmes | 11% no doubt about the 139 606 EUR foundations of the collaboration. Although the application process Film festivals | 2% is exactly the same at 25 000 EUR

Distribution-automatic support | 41%

511 343 EUR

Development slate funding | 20%

250 300 EUR 1 251 420 EUR 18

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MEDIA support for Hungarian projects 2017

Do the different local offices work together in any way? If so, what kind of initiatives does the Hungarian office take part in?

Yes, there is collaboration of this kind between the Creative Europe Desks. The latest international one took place in Ljubljana in December 2017.

Our joint initiative, the CEE Animation Workshop, came about in order to bring together independent animation producers from 18 eastern European countries. The panels that addressed east-central European co-production conditions were an important part of the Ljubljana reunion. More than 30 film experts took part in the event. These experts made a collective statement in which they addressed cinema funds and TV channels, asking them to offer more support to the animation industry.

How satisfied are you with the results of the Hungarian candidates?

I think we can be proud of them. Competition is tough and the amount of money that can be won is limited. Hungarians have to compete against French, German and Italian projects, which doesn’t make their position any easier. And yet they have still managed to get good results in the past four years. In the framework of the MEDIA subprogramme, since the Creative Europe’s launch in 2014 a total of 5.7 million euros in support has been allocated to the Hungarian film industry.

Thanks to this amount we are closer to the standards of the east-central European region.

Saul’ was screened at cinemas in 24 European countries, with 550 000 euros of distribution support from MEDIA; Ildikó Enyedi’s successful ‘On Body and Soul’ was also shown in 30 European countries, with a total of 624 000 euros in support; and last year’s Cannes competition film, ‘Jupiter’s Moon’, also did a fine job, being shown in 27 countries, with 476 500 euros worth of support. Just as important is that the pre-production of the last two films was also supported by Creative Europe.

And László Nemes’s new film ‘Sunset’ was also successful in the development scheme.

photo by Gábor Valuska

thanks to the Hungarian-German co-production and to MEDIA support, was used as a case study for demonstrating the seminar’s main topic in a practical way.

What are the Hungarian Desk’s plans for the near future?

At the moment we’re working on the preparation of a joint MEDIA/Culture showcase event. We plan to present the most successful projects and candidates of the Culture Europe programme of the last four years. And in connection with this we have started drafting a comprehensive publication in which, alongside reviews of the projects, there’ll be interviews with the candidates.

On top of that we also plan to attend cultural and film-related events and festivals that are similar to our usual Europe Day exhibitions. We have also been in contact with several local offices of the Europe Direct network, where we will give informative presentations in summer.

Dániel Deák

What is your greatest achievement?

It would be very hard to pinpoint just one thing, but it is true that we are particularly proud that MEDIA has had a lot to do with the international distribution of the most successful Hungarian films of the past few years. The Oscar-winning ‘Son of

MEDIA support for Hungarian projects 2014–2017 1 800 000

1 625 267 1 650 936 EUR EUR

1 600 000 1 400 000 1 200 000

1 251 420 EUR

1 243 139 EUR

1 000 000 800 000 600 000 400 000 200 000

2014

2015

2016

2017

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Access to Cinematic Knowledge and The Hungarian Film Fund’s Experience Role in Film Training and Education

There is an increasing number of international productions being shot in Hungary, which results in less available professionals for smaller and domestic films. To alleviate the shortage and increase the competitiveness of local film production, a complex initiative called the Film Training Programme was launched by the Film Fund in 2016.

Krzysztof Zanussi photo by Gábor Valuska

The legal and financial foundation of the programme was outlined in the Motion Picture Act in 2016, according to which productions receiving indirect financial support in Hungary are to contribute to the film training fund. The Act sets a 0.5% levy and also obliges productions over 10 million HUF (32 000 EUR) to employ interns.

The obligatory training contribution of the motion picture industry serves as the basis for a number of skills training programmes.

One such programme is the Film Fund's call for applications for institutions where relevant professions are being trained. In 2018 the Film Fund has called for its third tender in the

Martin Daniel photo by János Posztós

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photo by János Posztós

photo by Gábor Valuska

following areas: focus puller, location manager, first ad, CGI, DIT, key grip, dolly grip, grip, set decorator.

‘Filmesgyakornok’ is the Film Fund’s website channelling students and newcomers actual film productions. The site lists productions with available placements and provides news and information about the film industry and about education opportunities. Producers can access a database of potential applicants with their educational background and professional experience in order to find the interns best suited for their film.

In the autumn of 2017, the Film Fund launched the Fast Forward Program (FFP), which provides short trainings, predominantly lectures and workshops, for film professionals who wish to broaden their horizon and to improve their skills. The programme offers practice-oriented workshops and masterclasses by international experts. These intensive training courses are held by internationally acclaimed professionals and mainly focus on areas that are somewhat missing from formal film education and/or need reinforcement in the industry.

The programme’s debut was a thematic block focusing on film business including a workshop on creating posters and trailers and general marketing strategies and lectures about domestic and international distribution. Events in the FFP series usually include an open lecture to a wider audience followed by a workshop for a select group of film students or professionals, which usually involves opportunities for presenting film ideas, work samples or developing specific skills through practice. So far one of the

most memorable events was a screenwriting workshop by Martin Daniel, and a milestone of the programme was a masterclass given by the Polish auteur-director Krzysztof Zanussi in which he talked about art and narratives in the postmodern world. In February the FFP features a lecture on low-budget filmmaking

by Katriel Schory, a three-day workshop on pitching by Sibylle Kurz, a one-day workshop on post-production by a group of European experts, followed by a two-day workshop on European coproduction in March.

Innovative filmmakers can apply to the Film Fund’s Incubator Programme with a treatment for their first feature film. After a pre-selection process and a pitch forum in front of industry experts, the winners receive financial and professional support for realising their directorial debut. This year Sibylle Kurz, the internationally acclaimed pitching coach, gave a workshop to the participants of the Incubator Programme, thus creating a link between the two programmes.

By covering all stages from education to work experience and mentoring, the programme not only provides access to new generations of filmmakers to Hungarian cinema but aims to promote a more open and diverse industry. Ádám Harangozó

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2018 for the Hungarian Film Archive

Q&A with György Ráduly, the Director of the Film Archive department of the HNFF The Film Archive was reorganised within the framework of the Hungarian National Film Fund exactly a year ago, which is when the National Digital Film Restoration Programme was announced. What has been achieved so far?

We are digitising and restoring 25 films a year in cooperation with the Hungarian Filmlab and with the involvement of the Hungarian Society of Cinematographers (HSC). We have managed to save and restore the 70-year-old ‘Somewhere in Europe’ (Valahol Európában), the first international success of Hungarian filmmaking after WWII. The film’s nitrate print was in an extremely poor condition. It has been under the protection of the United Nations since 1948.

Zoltán Fábri, one of the most successful Hungarian film directors (winner at Moscow and Berlin festivals, three-time nominee for the Palme d’Or and two-time nominee for an Oscar), would have turned 100 years old this year. In his honour we launched the systematic restoration and DVD special edition of his lifetime work.

His masterpiece, 'Merry-Go-Round' returned to Cannes 50 years after it's official selection in 1956, and was screened at Cannes Classics. We

György Ráduly (Hungarian National Film Archive)

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have also restored the first film by Ildikó Enyedi, ‘My 20th Century’ (Az én XX. századom), which became much sought after in the wake of the international hit ‘On Body and Soul’ (Testről és lélekről), as well as that of the complete oeuvre of István Szabó.

What digitalisation plans do you have for the near future?

Over the next five years we would like to fully restore, in 4K, the most significant works of the oeuvres of Károly Makk, Sándor Sára, István Szabó, Béla Tarr, Márta Mészáros, Zoltán Huszárik, Miklós Jancsó, István Gaál, Marcell Jankovics, Gyula Macskássy and Sándor Reisenbüchler, to name a few.

The new Film Archive made its first public appearance at the Budapest Classic Film Marathon in November. How was the event received?

At 38 screenings over three days, the Budapest audience had the opportunity to watch newly restored Hungarian masterpieces and special works with a Hungarian relevance from various European archives such as CNC, Cinémathèque française, Cineteca di Bologna, Deutsche Kinemathek, Eye Filminstitut, Filmarchiv Austria. The professional programme covered topics on the preservation and restoration strategies of Hungarian and European film archives. It was extremely encouraging to see that nearly 5 000 people, including very many young people, were interested in the programmes and screenings. The positive feedback received lead us to decide to organise the Film Marathon on an annual basis. Other than Hungarian films, we also presented films from other countries that are somehow related to Hungarian creators, such as ‘Red Shoes’, directed by Emeric Pressburger, and ‘Play Dirty’, directed by André de Toth. We also celebrated the two 100 years old European filmstudios, UFA and Hunnia trough the presentation of the German-Hungarian doublelanguage production in the 30's.

The Film Archive celebrated its 60th anniversary in 2017. What other special events were staged for the jubilee?

To conclude the anniversary, in December we made a package of 60 films available for free on our video-sharing channel. These included restored classics and rare documentaries.

Although cinemas are the true home for films, we have to acknowledge that film consumption today is largely online. More than 750 000 people clicked on our films, thereby proving that there is a significant demand for archive films in this form as well.

Massimo Benvegnú

Fumiko Tsuneshi & Nikolaus Wostry

(EYE, Amszterdam)

(Filmarchiv Austria)

Nico Hofmann (UFA), Andrew G. Vajna, Agnes Havas (HNFF)

Rainer Rother (Deutsche Kinemathek)

Nico Hofmann & Thorsten Degen

István Szabó - director

(UFA) Photos by Miklós Déri

György Ráduly, Eric Le Roy (CNC) & Gian Luca Farinelli (Cineteca Bologna)

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photo by Hanna Csata

2017: Another Shining Year of Hungarian Films Winning the Golden Bear at the Berlinale, selected to Cannes and Sundance, nominated at the Student and the main Academy Awards, and winning numerous other incredible prizes at festivals across all continents - this is how 2017 turned out to be for Hungarian cinema. Men and women, both freshly graduated and experienced filmmakers, in genre movies and artistic expressions; the list is long and constantly growing.

2017 started out strong for Hungarian cinema: Ildikó Enyedi’s sensitive movie ‘On Body and Soul’ was awarded the biggest accomplishments one could ever hope to achieve at the Berlinale: the prestigious Golden Bear, supplemented with the FIPRESCI, Ecumenical Jury and Berliner Morgenpost Reader’s Jury prizes. Later in the year it won Best Film in Sydney and was selected in Toronto, Zürich and many other festivals. But it wasn’t just the film itself that got acknowledged through important awards; Máté Herbai won the respectable Golden Frog at the Camerimage Festival for his cinematography and Alexandra Borbély became the Best European Actress at the European Film Awards, a first in the history of Hungarian cinema. And the story doesn’t end there: a few weeks ago ‘On Body and Soul’ was nominated for an Academy Award for Best Foreign Language Film.

The moving black-and-white drama directed by Ferenc Török called ‘1945’ was also a big winner in 2017. Set in a small village in the wake of the Holocaust, it follows the ruthless leader and the locals who become increasingly anxious as two mysterious Jewish men head towards the village. The engaging narrative was a huge success all around the world, appearing first at the Panorama Programme of the 67th Berlinale and finding its way to the top, especially in the United States where it won awards at the Jewish festivals of Miami, Washington and San Francisco and was selected to be screened in San Diego, Toronto, Philadelphia, Portland and Pittsburghand won several other awards as well including prizes at Sitges Film Festival, Paris L'Étrange Festival and Austin Fantastic Fest.

Máté Herbai photo by Tytus Żmijewski /PAP

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There were many more reasons to be proud in May at the 70th Cannes Film Festival. A regular contender, Kornél Mundruczó’s new film ‘Jupiter’s

Moon’ was selected into the main competition.

The film is about a young Syrian immigrant who drifts into Budapest with the sudden ability to fly and is helped by a doctor who lost his faith a long time ago. The film later also screened in festivals such as Karlovy Vary, Sarajevo, Wroclaw New Horizons, Sydney, and won three awards at Sitges, including the Best Film prize.

Beside Mundruczó’s film, a young talent attended the festival in the Cinéfondation section: Áron Szentpéteri presented his student film, ‘Invisibly’, about a real-life blind boy who meets a girl and tries to get closer to her but crosses one too many lines. The 30-minute film was subsequently selected for screening at Sarajevo, CinEast and Angers, amongst others.

As for other short films, there were many more success stories in 2017, like Ádám Freund’s ‘Earthly People’, which was nominated for a Student Academy Award and selected to festivals such as Chicago International Children's Film Festival, Uppsala International Short Film Festival and Camerimage. The story follows a young boy and his family who is trying to cope with the loss of the father, through fantastic elements as well as a musical number.

‘Beautiful Figure’, directed by Hajni Kis, screened at more than 50 international festivals (including BFI Flare, Busan, Odense and Interfilm) and won a total of 12 awards. ‘Collapsed Lung’, which tells the story of a Hungarian middle-aged man and a Syrian refugee, premiered in Drama and later won the Grand Prize of Euroshorts in Gdansk.

Last year was also a revelation as film festivals selected more genre films into their programmes, including Hungarian science fictions, crime thrillers and film noirs, along with comedies and historical dramas. The time-spinning sci-fi ‘Loop’

by Isti Madarász won the main award in Trieste and was selected to Fantasporto in Portugal, where Roland Vranik’s drama ‘The Citizen’ won the award for Best Screenplay. At the Belgian crime film festival in Liège, Attila Till’s ‘Kills on Wheels’ won Best Screenplay, and ‘Strangled’ by Árpád Sopsits was the audience’s favourite.

The psychological thriller that captured the rampage of the first Hungarian serial killer was also screened at the Transylvanian Film Festival and won two prizes in Parma, Italy: the “Violetta d’Argento” for Best Director and the award for Best Cinematography for Gábor Szabó.

Loic Venance (Getty Images)

Alexandra Borbély photo by Hayoung Jeon (MTI/EPA)

Other crime stories also fared well, including the biopic about one of the most famous bank robbers entitled ‘The Whiskey Bandit’ and directed by the internationally reknown Nimród Antal, premiered at the 33th Warsaw Film Festival. ‘The Butcher, the Whore and the OneEyed Man’, directed by János Szász and which also depicts a notorious love triangle between three sinful persons, had its world premiere in Gent, Belgium. Éva Gárdos’ ‘Budapest Noir’ had its own world debut in Chicago, and firsttime director Csaba Vékes (supported by the Hungarian Film Fund’s debut film initiative, Incubator) premiered his comedy, ‘Behind the Column’, in Montreal.

2017 was also a milestone in bringing international attention to Hungarian documentaries made by young filmmakers. Dok Leipzig selected ‘Granny Project’ by Bálint Révész, which introduced the story of three incredible grandmothers and their special relationship with their grandsons, one a Brit, another a German and the third a Hungarian. At the IDFA Dorottya Zurbó premiered her debut feature-length doc at the festival’s first-film competition with ‘The Next Guardian’ (co-directed by Arun Bhattara), about a family’s life protecting ancient relics in the heart of the Himalayas. This film also got selected to Jihlava, along with Péter Forgács’s ‘Picturesque Epochs’ and the short avant-garde documentary ‘8th October 2016’ by Péter Lichter and Borbála Máté.

By the end of the year, another documentary made Hungarian film history: ‘A Woman Captured’ by Bernadett Tuza-Ritter was invited to the World Documentary section of Sundance Film Festival, making it the first feature-length Hungarian film to screen in competition in Sundance. In the heartbreaking story, the director meets and follows a 50-year-old woman who has been kept a slave for 10 years in a household and who finally decides to make a move and escape her prison.

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'The Alienist'

When Hollywood Comes to Town Crews are busy, soundstages are never empty, and you can hardly walk in the Budapest city centre without bumping into a film set. Here are some of the projects that were or are being filmed in Hungary!

The first half of 2017 brought two big-budget Hollywood movies to Hungary, both of which have recently wrapped. Directed by Francis Lawrence of ‘The Hunger Games’ franchise, ‘Red Sparrow’ is an espionage thriller starring Jennifer Lawrence, Joel Edgerton and Jeremy Irons. The other big title is ‘Robin Hood’, which is a new take on the classic tale and stars Taron Egerton, Jamie Dorman and Jamie Foxx. These big-budget movies will be opening worldwide in March and September 2018, respectively.

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While Jamie Foxx was busy tweeting and instagramming his months spent in Budapest, the Mila Kunis-Ashton Kutcher duo gave a lot of work for paparazzi. Kutcher was in the city accompanying Kunis, who was filming ‘The Spy Who Dumped Me’, an action-comedy also starring Kate McKinnon and Justin Theroux.

Keira Knightley was more low-key when she filmed the indie drama ‘Colette’, directed by Wash Westmoreland.

Besides the big-budget Hollywood fares, TV shows are the biggest spender. According to newly released statistics, the biggest project in 2017 was the marathon-length shoot of TNT’s new drama series ‘The Alienist’, which spent 67 million euros in Hungary. The investment seems to be not at all bad: the show’s launch in January this year reached a cumulative 13.1 million viewers in telecasts in one week, making it the network’s most successful launch since 2012. The show, starring Dakota Fanning, Daniel Brühl and Luke Evans, is a psychological thriller set in New York City in 1896.

AMC’s ‘The Terror’ is the second biggest spender in Hungary with around 41.4 million

'The Terror'

'Red Sparrow'

'Colette'

euros. The horror-thriller series, starring Jared Harris and Ciarán Hinds, is set to premiere in March this year. New seasons of ‘The Last Kingdom’, ‘Strike Back’, ‘Jamestown’ and ‘Mars’ were also filmed in Hungary this past year. And National Geographic’s ‘Genius’ is still in Budapest: the current season depicts the life of the painter Pablo Picasso and stars Antonio Banderas. Rowan Atkinson’s ‘Maigret’ character has returned with two made-for-TV movies, and director Stephen Daldry himself directed a week-long shoot for the new season of his Golden Globe-winning series ‘The Crown’.

2018 is also looking very good. Besides some returning shows, many exciting films are lined up to shoot throughout the year. Oscarnominated Marjene Satrapi is currently prepping her new feature film ‘Radioactive’ with Rosamund Pike starring as Marie Curie.

But it is two blockbusters that has everyone talking. ‘Deadpool’-helmer Tim Miller is in charge of rebooting the ‘Terminator’ franchise (Arnold Schwarzenegger and Linda Hamilton are already on board!), while Ang Lee will film his ‘Gemini Man’ with Will Smith around the same time.

'Maigret'

'Robin Hood'

From Berlin to

Berlin Each year in February the Berlinale becomes the home of Hungarian cinema. The success story of ‘On Body and Soul' started here a year ago - now new talents and great comebacks are in the spotlight.

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Rebuilding the Moral Firewall Behind ‘Genesis’

After 11 years Árpád Bogdán comes back to Berlin to premiere his new feature, ‘Genesis’, in the Panorama Special. With his producer Andrea Taschler, they are committed to dealing with important social questions via magical realism.

Árpád Bogdán and Andrea Taschler photo by Gábor Valuska

Árpád, it was 11 years ago that your first film ‘Happy New Life’ debuted at Berlinale. What have you been up to since then?

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Árpád Bogdán: First and foremost, I have been preparing my second film, ‘The Necromancer’ (Halottlátó), in which we have invested an enormous amount of energy and time, five or maybe

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stills from 'Genesis'

even six years. ‘Necromancer’ was intended to be a magical realism thriller about Romani people who are capable of seeing the ‘other side’. I wanted to show this world set in an urban environment, just as mythology meets urban social romanticism on a particular dissecting table. For a while it seemed like this would happen, but with the collapse of the previous film-financing system I also fell a little apart, which I believe was not unique at the time. I wallowed in self-pity for a while, sometimes managing to get out of it. During that time I wrote my short stories, tales and poems, and once in a while I also wrote a script.

They already had some motifs that would eventually show up in the script for ‘Genesis’.

While writing the script, I made a feature-length documentary about a boxer called Ghetto Balboa. We are currently in postproduction for the film at Focusfox studio. Beside

‘Genesis’, this is the other piece of work that I’m really proud for.

What led you to make ‘Genesis’? Á.B.: The series of attacks against the Romani community back in 2008-2009 was both shocking and terrifying. I knew right away that I had to do something with it as a screenwriter and a director. But not then, and not immediately. So I made a documentary for BBC about the attacks, which made me feel very unpleasant because I felt like I was exploiting the grief of these people. I felt ashamed, because through asking them questions I was just opening up wounds that were not even so old. The respect and the compassion that I felt for them became a sad shadow cast behind a theatre stage. I needed time to comprehend and assess this unprecedented act of terror, while also trying to find an answer. Beyond the sheer hate and racism, I felt a somewhat apocalyptic or biblical presence behind these events. The attacks were just unimaginable for me in a Europe after WWII. There is something very primal that stayed with us after the moment of creation; this godly precipitation. Evil doesn’t need any motivation to show its true face, neither now nor then. I saw the unbearable darkness of this evil in the eyes of the victims; they had seen it. That evil will now stay with them forever. They can’t go back and unsee what they saw. It was there among the flames, in the sounds of the gunshots, in the helpless precipitation in the fingers on the trigger and in the looks that sometimes flashed through their hoods. And yes, it was in the silence: standing in between the killers and the victims, there was an indifferent country that remained silent.

I don’t believe that these attacks only changed the lives of the Roma people who were involved in them. This tragedy is not

only theirs; it is also yours. It’s theirs; it’s ours.

We need to find a moral firewall somewhere within ourselves. A firewall that can be rebuilt after it has collapsed. I have to believe that this firewall can be rebuilt. ‘Genesis’ is about this attempt.

Andrea, you graduated as a dramaturgist at the University of Theatre and Film Arts. How did you become a producer?

Andrea Taschler: I was only 18 when I applied to the university, which was highly competitive. I was good in writing, full of ambition, and the only thing I knew that I wanted to study art. They took me for first try, and I was the youngest in my class. Later I was invited to work at the Katona József Theatre, one of the most famous theatre companies in Hungary. I spent three years there, but I knew that theatre was not my place. Around the same time Katapult Film was founded and producer Iván Angelusz invited me to start working together. The first film that I was in charge of was ‘White Palms’, and every experienced filmmaker told us that it would be impossible to make on such a low budget with such high ambitions.

But we didn’t care about conventions, and it became a beautiful and important piece for Hungarian film. I found myself under the influence of this new world of cinema, and I participated in several projects with high artistic value and limited financial conditions, it was a good school of filmmaking attitude.

But I had different ideas about producing, therefore I began to attend international producer’s workshops and trainings, and in 2010 I created my own production company with Szabolcs Hajdu, Nándor Lovas and Péter Réti called Mirage Film Studio. That company ended in tragic circumstances, which influenced even the development of Genesis.

The films I’m currently producing are made through its successor company.

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attention. Just what the right question is changes every time.

Did you use your knowledge in dramaturgy when producing ‘Genesis’?

A.T.: I don’t think it’s a good idea to mix this with my work as a producer. Still, I love getting involved in the script development. It’s important to discuss the ideas in order to come up with the final version of the story together with the director. During the development of ‘Genesis’ I spent a lot of time with Árpád, which resulted in a close professional relationship.

It was inspiring to work together, since that’s the kind of working style I love: a prolific associative work that also uses a lyrical voice, which is Árpád’s forte.

What was the greatest challenge you faced as a producer while working on ‘Genesis’?

A.T.: The subject itself. How can we approach people with a beautifully executed work of auteur cinema when moviegoers tend to avoid heavier content? I believe that art in all times most importantly must ask the right questions and should make people stay alert and pay

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‘Genesis’ deals with one of the most important issues of nowadays. The world is full of violence and dangerous political games, and society is full of unhappy and burnt out people who feel unable to change not the world, but their life.

Our film shows how it is possible on a personal level to influence things. The characters in ‘Genesis’ are all average people from different social classes whose lives have been changed by terrible tragedies. Nevertheless, they are able to take control of their fates and to make brave decisions in critical moments, and these decisions also affect the lives of others in a positive way. It has nothing to do with power or money. The subject of our film is symbolic, and eternal, it is about the responsibility of the individual over the society.

We see both professional and amateur actors alike. Can you tell us about the casting? How did you find your protagonists? Á.B.: We should give credit to Mark Zuckerberg, who invented Facebook, since Milán came of his own accord. We even posted an ad on it, and Milán’s mum told us that he picked the job offer and told her “I’m interested in this”.

So they had no choice but to hop in their car and go to the casting. When I saw him I knew that he was exactly who I was looking for: a sensitive and intelligent doe-eyed kid.

Finding the actor for the role of the teenage girl was the hardest, though. We never have any trouble finding girls between the ages of 16 and 20, who all want to become actresses, but teenagers are more difficult. The one we finally settled on came in at the very last moment to one of my castings outside of Budapest. She was exactly whom I had written in the script.

The one we finally settled on came in at the very last moment to one of my castings outside of Budapest. Enikő Anna Illési was exactly

whom I had written in the script. The only one I saw and knew right away was Anna Marie Cseh. Many people tried to talk me out of casting her, but I stood by my idea.

The film centres on different people who all live in a different social strata, but all in broken families. Beyond the attacks against the Roma, which had happened in real life, what else connects these people? Á.B.: They are connected by the abovementioned firewall that we all have within us. The film compels us to take a moment for self-reflection and to find the inner good in ourselves as well as our belief in the world, no matter how banal it might sound.

To believe in life is the way to stand against evil, against hopelessness. All three stories are an awakening and a way to start over, which requires great courage. The three people, whilst they are all very vulnerable, all want something that is lost. They want to find it and start over, no matter how hard that might be.

This may sound idealistic, but I believe in it.

eight things, which actually proves that they all respected the artist in me.

Both fire and water have an integral role in the film’s visuals. While the film is very much about the here and now, did you try to include some elements of magical realism? Á.B.: The central motif in my first film was the womb. For me, in an urban setting, the womb is symbolised by the bathroom. When somebody goes underwater in the bathtub, they seek the same silence they were accustomed to before being born, in order to return to their very first moment of being. I grew up among tales. In my foster home everyone brought their own superstitions and scary tales from their own broken families: vampires wearing capes who run around on the rooftops and steal babies; thieves who move silently with silver knives in their hand; old witches who are chained to ageold trees at the edge of the world and guarded by white dogs; or fairies who live underwater, and so on.

Dániel Deák

The script was well received at the ScriptEast workshop, and I’m sure it went through the usual script development process within the Hungarian Film Fund. Did it prove to be useful for the script? Á.B.: It did, although not during every stage of the script’s development. We had a lot of reflection and criticism, but if a writer is unsure about what they want to say, they might just get dissolved like an effervescent tablet. Any criticism, if it comes from the right experts, can be very important, even if we only end up using two things from the 10 notes that we receive.

Luckily enough, though, neither the Film Fund nor ScriptEast was too hard on the remaining

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‘My 20th Century'

A Wonderful First Film Among the Berlinale Classics Ildikó Enyedi is Back in Berlin The audience of the 2017 Berlinale celebrated a new film by Ildikó Enyedi. Enyedi’s return after 18 years was magnificent. ‘On Body and Soul’ (Testről és lélekről) won its first international award, the Golden Bear, in Berlin. After this film’s nomination for the Academy Awards, the Berlinale presents yet another of Enyedi’s works in 2018. The Berlinale Classics will present the Hungarian director’s debut film, ‘My 20th Century’ (Az én XX. századom - 1988) which has been digitally restored.

Ildikó Enyedi & Péter Andorai photo by István Jávor

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Enyedi took the international world of film by storm with ‘My 20th Century’. In 1989, it won the Caméra d'Or in Cannes, and it was among the best 10 films of the year according to The New York Times. The film was celebrated everywhere for its fresh voice, original form and outstandingly unique viewpoint that goes beyond international film trends and which has since become Enyedi’s signature style. Critics regard the film as sharp and observant, full of magical humour, a film of radiant power; even Fellini was referenced in relation to her work: “’My 20th Century’, photographed by Tibor Máthé, must be one of the most handsome black-andwhite films since Federico Fellini’s 8 1/2. It is also enormously good humoured.” (Vincent Canby) Buster Keaton puts his head into a cannon while trying to light the fuse with a torch to kill himself. With this symbolic burlesque, Enyedi paints a picture of how she sees the world in the prologue of ‘My 20th Century’. She then goes on to tell a story of the century of light with the deliberate naivety of silent films: a story that takes place between Edison’s two inventions, the light bulb and the telegraph. Enyedi turns her eyes upon the bright and spectacular light that is the Exposition Universelle of 1900, the time and place in history she feels mankind should travel back to and start all over again, preventing the horrors and self-annihilation of the coming century.

“The world that God created is wonderful, and humanity is wonderful for having now learnt how to shape it,” says Edison in the film when releasing the telegraph that changed communication forever. In this scene, the history of the telegraph appears as light: the news goes around the world as the sun moves across the horizon. This postmodern masterpiece uses light, the song of the stars, and the style of silent films at the birth of cinema, to give an encyclopaedic explanation for where the 20th century went wrong and humanity forced itself into the war trenches. We follow the romantic adventures of the immoral impostor, Dóra, and her sister, the anxious anarchist, Lili, who were born from a star and separated when they were children.

As we see from their story, roles and principles are unsuited to guide a person in life. However, even at a time when modernity goes wrong, Enyedi shows us the miracle of life that lives within us all.

The sisters (Dorotha Segda) meet the cosmopolitan scientist Mr Z. (Oleg Yankovsky) who experiences the totality of WOMAN as ideal through them, not realising that they are not one but two separate people. The misunderstandings that follow are typical of burlesque and create the opportunity to showcase the major philosophical streams of the age. Both

girls are forced to assume a role. Dora sleeps with rich men while travelling on express trains and luxury liners, while Lili hands out flyers and plots a bombing. Lili complains to Mr Z. about men and Otto Weininger’s sexist lecture, while he helps her climb through a wall. Mr Z. confesses he loves Lili, but she can’t hear him through the wall now, as she is off to blow up a cinema - the very same one Mr Z invited her to.

We see a powerful scene of people running out of the cinema while the films still go on, on 16 screens next to each other.

In the next ironic chapter on romantic relationships, Mr Z. gets revenge on the virgin Lili for what Dóra did to him. Dóra stole Mr Z.’s money while they were making love on a luxury liner. Mr

Z. gives way to his own anger, he punishes Lili, who already feels guilty over the bombing incident.

Every scene plays to the extremes in every sense, and its most powerful tool is the face of the actor.

Cinematographer Tibor Máthé brightens Dóra’s surroundings and Lili’s eyes.

All principles, just as the characters’ assumed roles, fail: Lili brings herself to blow up a living person, Pavlov’s wired and conditioned dog is being watched over by the stars who help it escape so that it, too, can see the world. From the dog to the chimpanzee kept in a zoo for being ‘too curious’, every little episode of the film is a satire of people who crave knowledge and put on acts. Compared to this, everything is cheery and colourful from dandelions and bees to donkeys.

It is the animals, from snails to donkeys, who are wise, not people - and so it is in all of Enyedi’s films. It is the donkey that leads Mr Z. away from the crucifixes of a mythical crossroad into the maze of mirrors, which is the unforgettable symbol of the many faces of truth and illusion.

Here, Dóra, Lili, and Mr Z. finally all meet. We realise that nothing is what it seems, all things exist through interpretation only.

photo by István Jávor

Ildikó Enyedi was born in Budapest in 1955.

She studied economics and filmmaking at the University of Budapest and later in Montpellier, France. She began her career as a concept and media artist. She was a member of the art group Indigo and of the Balázs Béla Studio, the only independent film studio in eastern Europe before 1989. She worked in Berlin in the framework of the Artist in Residence programme of the DAAD. She is a member of the European Film Academy and of the Academy of Motion Picture Arts and Sciences. She was awarded the Balázs Béla and the Merited Artist Prizes (1991, 2000) and has received the Republic President’s Order of Merit Cross (2002) and the Prima Primissima Award (2017).

Enyedi received the Golden Camera Award for Best Debut Film at the Cannes Film Festival for ‘My 20th Century’ (1989), which was chosen as one of the 12 best Hungarian films of all time and selected among the 10 best films of the year by The New York Times. With ‘Magic Hunter’ and ‘Tamás and Juli’ she took part in the Official Competition at the Venice Film Festival in 1995 and 1997, respectively.

With these works she has received more than 40 international prizes.

Enyedi’s comeback with ‘On Body and Soul’ in 2017 was grandiose. The film won a Golden Bear and FIPRESCI at the Berlinale, with Máté Herbai DOP winning a Camerimage Award and Alexandra Borbély winning Best Actress at the EFA.

The epilogue, a beautiful canal shot in Cuba, is pure philosophy in itself: return to the roots, where water and sky meet, where all stories become weightless.

Enyedi’s first film is an outstanding fall-ofsocialism black-and-white movie, similar to Béla Tarr’s ‘Damnation’ (Kárhozat) or György Fehér’s ‘Twilight’ (Szürkület). It is only similar to these two films in that it looks at the century from an ontological point of view. However, both in ‘My 20th Century’, and in her later films (‘Magic Hunter’ [Bűvös Vadász], Tamás and Juli [Tamás és Juli], Simon Magus [Simon mágus], On Body and Soul) she is more a chronicler of the wonders of life than one of destruction. It’s not surprising, therefore, that the film’s working title was ‘The World is Wonderful’. In all her works, we can feel Enyedi’s loving empathy towards all living beings, and her understanding of life’s horrible banality. With the help of a donkey or two deer, we can stop for a moment to peer into another person’s soul with our undivided attention. This, after all, is the most one could give and receive.

The full digital restoration of the film was carried out in 2017 by the Hungarian National Film Archive and Filmlab, in the frame of the Hungarian Film Fund’s film digitization and restoration program, using the original material, in 4K resolution, with the participation of DOP Tibor Máthé.

Eszter Fazekas HUNGARIAN FILM MAGAZINE

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Meet Hungary’s Shooting Star Réka Tenki

Réka Tenki is a rising talent in the world of Hungarian film and theatre. International audiences recently met her in Ildikó Enyedi’s ‘On Body and Soul’, where she played the psychologist, and more recently she was the star of the noir crime story ‘Budapest Noir’.

In February, Réka Tenki will be introduced to the international film industry in Berlin as one of the Shooting Stars programme’s ten promising acting talents of Europe. The last time a Hungarian actor was invited to this Berlinale initiative was in 2009.

What will happen to you in Berlin?

How did you land the role of the psychologist in ‘On Body and Soul’ and how did you prepare for it?

I was chosen after a long process of auditioning for the role. Ildikó Enyedi dreamed up the idea for the movie, created the characters and then cast actors she fell in love with; people she thought were similar to the characters she had dreamed about. I think it was luck that landed

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photo by Róbert Hegedűs

Shooting Stars, the programme I have been invited to, will be held between the 15th and 20th of February this year as part of the Berlin Film Festival. I am one of ten young actors from across Europe who will have a 4-day-long series of meetings with producers, directors and casting directors. There will be discussions and we will also get the chance to attend film screenings. At the end of the festival we will receive an award at the gala. The aim is to give us an opportunity to be recognised at an international level and to participate in productions outside our home countries.

me the role. The preparation itself was guided

by Ildi, who had a very clear idea of what she wanted. She is very good at instructing actors, so we were able to depend on her entirely. She gave us everything.

'On Body and Soul'

The journalist in ‘Budapest Noir’ is your first lead role. How were you cast and what did this mean to you?

The casting was very different with this movie too. I was responsible for being the lead, which was something new compared to what I had done before. I read Vilmos Kondor’s novels, but in order to act out the role I needed to base it on an example of someone who could resemble the character in the book. I found her in Gerda Taro, Robert Capa’s love who became a photographer at the same age as my character in the movie, and sacrificed everything to show people the era in which they lived and the monstrosities that were happening around them. So in this respect Gerda Taro was a great example of bravery. ‘Budapest Noir’ is set in 1936, so everything from makeup to costumes evokes this era. I was required to transform myself for the role, which is always an exciting task.

For last year’s commemoration of the 300th anniversary of Maria Theresa’s birth, a series was made in an Austrian-Czech-HungarianSlovakian co-production. The director, Robert Dolnhem, lives in America but was born in Timișoara and has quite good Hungarian.

During the shooting, everyone spoke their own mother tongue. The crew also worked in the Czech Republic, Austria and Italy. Could you tell us a bit about this exciting project?

Robert came to Hungary and held auditions where four of us, Bálint Adorjáni, Ervin Nagy, Zoltán Rátóti and myself, were chosen to represent Hungary in the co-production. I spent 10 days working on the movie. The shooting was very funny as everyone was talking in a different language. It was not at all stressful, even though I never knew when the actual shooting was going to start, as they were talking in Czech and I don’t speak Czech. After a while I had to learn that 'akční' is not the sound of sneezing but means that shooting has begun and we should pay attention. It is always a pleasure to meet and learn from colleagues of the same age who come from different countries.

In what way is a co-production different?

The journey is different, but the level of quality is the same. If the director is good and prepared and there is a good relationship between the

crew members, then it doesn’t matter where you happen to be in the world, because work will always be work and everyone tries to do their own, putting a lot off effort into it. Being aware that you are working abroad is what makes it different.

In 2015 Jurányi Incubator House premiered the monodrama Egyasszony (‘One Woman’), which was a great success and is still in the repertoire. What should we know about this play?

Egyasszony was adapted to the stage from the tragic story of Éva Péterfy-Novák, which was originally a blog before it became a novel.

I accepted the role because we wanted to talk about her story, which stands out as an example showing that no matter what happens to a person, it is still possible to go on, to learn to live with difficulties and tragedies such as the loss of a child. We had the play’s 102nd performance, and I’m really proud that we got this far.

How would you describe your relationship with Alexandra Borbély?

It is always good to connect with people who are able to be themselves. There is no competition or jealousy, and we can be happy about each other’s success. When we sit down to have a chat, the main topic is not work but rather what’s going on in our personal lives.

And because we have this, it’s great that we don’t feel uncomfortable in the other’s company and we can just be, cook, talk, drink, laugh or help the other if need be. Ádám Hujber HUNGARIAN FILM MAGAZINE

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Meet the Best European Actress

Alexandra Borbély Alexandra Borbély had an amazing year - she not only played the lead in ‘On Body and Soul’ to rave reviews, but the movie ended up winning Berlinale’s Golden Bear and eventually an Oscar nomination. And between these Alexandra was chosen as Best Actress at the European Film Awards. We talked to the young actress about her amazing year and her upcoming exciting new projects.

It was wonderful to work with Ildikó [Enyedi]. She is such a special woman. She is very sensitive.

I can tell we are on the same wavelength. First she wanted me for the role of the psychologist, so I went in for the casting, but then Ildikó asked me to act out some scenes as all the main characters. I then helped her with the scene between the psychologist and Mária, sitting with every actress who was auditioning for the role of Mária. Ildikó invited me for coffee, which is when she came up with the idea that I should give the protagonist’s role a go. My first audition didn’t go very well because I was too feminine. But the second one did, because by then I felt that getting this role must not depend on my femininity, for example on how I look at someone as an actress. I came up with the way I look at someone, in a determined yet naive way, someone who doesn’t have any sexual experience. Later we worked out how she should look and walk. We rehearsed it over and over again, so that by the time we began shooting, it went really smoothly.

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photo by Pál Nánási

You were originally selected for the role of the psychologist, but were eventually asked to play the main role, which landed you the European Film Award for Best Actress. Can you tell us about your role and your work with the director?

How much did you bring to the character of Mária? What part that was added during the role building was your idea?

'On Body and Soul'

Her walk. It was how one of my classmates from high school used to walk. That’s how I remember her, as she always walked as if she was gliding.

When I showed it to Ildikó, she liked it. That was my idea brought to the role.

Márk Bodzsár’s next film, ‘Comrade Drakulics’, is currently in production. We know that it’s a satirical comedy set in the Kádár era, but what is your role in the film?

I play a prostitute who is actually a spy. It’s a small role, but it’s also really funny.

What is your next project?

A Hungarian-Romanian co-production, the debut film by the Transylvanian director Cecilia Felméri. It’s called ‘Spiral’. I begin work on it in May. How can you handle your schedule, with roles in seven different plays at the theatre, on top of all your films?

Theatre is now secondary, because of all the films I am involved in. I’m not rehearsing any new plays at the moment, but the number of shows I’m in will stay the same until the end of the season.

What is the role or character that you would definitely say yes to?

I would love to play in a Tarantino film. No question about it. On stage, I wouldn’t mind playing Martha from ‘Who’s Afraid of Virginia Woolf?’ She’s a middle-aged woman, so maybe I have to wait a little bit.

When somebody tries to decide on a profession, they set goals for themself. Do you feel you have achieved everything you wanted?

It’s overachieved. I didn’t think I would ever get this far. All I wanted was to become an actress in Budapest, a good actress in a good theatre.

Of course I wanted to do films too, but I never dreamed about what I’m currently experiencing.

This is a dream come true, and it has been going on for such a long time that I should finally realise that nothing is impossible.

You had previously admitted in an interview that you are afraid of never getting another role that is this perfect or of a similar quality.

Am I sensing correctly that this is still the case?

I believe Mária is not an average character.

Obviously there won’t be another role like it, but other miraculous things could happen. I’m 31. I can’t think that I won’t have any other chances, so I’m looking ahead to the future with total curiosity. One should always start every work and character from scratch. All the awards and whatever happens on the way can only give you confidence. I feel that I’m worthy, so I have to keep on working with greater conviction and courage. The braver you are, the more things you are going to try out.

Given that you come from Upper Hungary (southern part of Slovakia), do you get any offers from Czech or Slovakian films or theatre productions? What can you tell us about that?

I have received two offers from the Czech Republic. One is a co-production where I’ll be acting alongside Claes Bang, the main actor from ‘The Square’. It’s a smaller role, but an exciting one. The director is from the Czech Republic, but the film will be shot in English. In the other film I’m going to play a Czech village girl. There are other castings that I’ll be attending, and the lead in a Slovakian television series is also circling.

What is your relationship with Réka Tenki?

Réka has been my friend for a long time now. She is a pure person who has never been insincere in her life. She is very determined and it’s always as if no time has passed since we last saw each other, no matter how rarely that is. We have never felt awkward with each other because we can always be honest with one another. We were born the same year, so that might explain it. Ádám Hujber HUNGARIAN FILM MAGAZINE

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To Depict The Unimaginable Interview with Animation Director Réka Bucsi The third film by Réka Bucsi will debut at Berlinale. Her graduation film ‘Symphony no. 42’ came out back in 2014, which was followed by ‘LOVE’ in 2016. This year, her latest work, ‘Solar Walk’, is a 20-minute short film that follows the genre of science fiction, while using different techniques. All three films have one thing in common, besides all of them debuting at Berlinale Shorts: they try to find the human race’s place in the universe. ‘Solar Walk’ was originally created as a 50-minute background animation for a concert by the Danish Aarhus Jazz Orchestra.

Basing herself on that, Réka created a new 20-minute version.

How did the ‘Solar Walk’ project begin?

The Aarhus Jazz Orchestra wanted a background animation for one of their concerts, then supported by the Animation Workshop, and so they were looking for a director. We began to talk about it two years ago, and back then I didn’t really believe that it would actually happen, as it seemed to be such a big project. At first I was afraid of it,

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stills from 'Solar Walk'

thinking it would be too hard to do it in such a short time – I only had four and a half months to work on it. But it turned out to be a great learning experience.

Does this animation have an actual story? Did the Orchestra already have the sci-fi theme or did you come up with that by yourself?

The idea was to do something like Disney’s ‘Fantasia’ (1940). I was working with the MIDI version of the music, which had no orchestration. I created the storyboard using that and the songs. The theme that I was told to follow was space travel, which runs through the entire six chapters that make up the concert. The instructions that I was given were to show the role of people in space travel, and to do so in a philosophical way by presenting their place in this vast universe: where they stand in it all and how they feel about it. Since I had very little time to write the storyboard and to prepare the production, I wrote associatively and came up with a playful story, which follows one character after the other.

Science fiction is a theme that is present in both ‘LOVE’ and ‘Symphony no. 42’. What draws you to sci-fi?

That it offers me endless possibilities. I can come up with anything and do it in whatever way I can think of. But it is another interesting challenge to depict what’s practically unimaginable: to somehow depict space and time. A space that we could not comprehend at first. Yet this provides all kinds of abstract situations and ways of depiction. I love philosophical sci-fi films, such as ‘2001 Space Odyssey’ and ‘Stalker’. That’s the path I follow in my films. In ‘Solar Walk’, for example, I tried to counteract the serious lyrics with ironic and sarcastic humour.

The definitive part of your film is the sound design created by Péter Lukács. Wasn’t it strange not to have that in the 50-minute background animation?

Yes, it was strange, especially during the creation of the storyboard, as there were several times when I had to drop an idea because it would only have worked with foley and not with music. This made me realise just how much I actually think in foley sounds. The 20-minute short film version does have foley effects that were made by Péter Lukács as well as new music composed by Mads Vadsholt.

How should we imagine the recreation of a complete 50-minute film into a short film?

I have never done such a thing before – to cut a finished animation film. Had it not worked, I would not have made the effort to edit it.

However, we could not create a whole film in only four and a half months. So we made freeze frame shots and loops, which helped us create a tightly edited version. The other

big challenge in this whole project was that I had to think up things that not only look good, but that also keep the viewer interested, even though nothing really happens. It was the only way to finish the film on time. For example, there are a number of scenes that are all oneminute takes without a single cut. For these I had to come up with situations that would unfold slowly, while also look good. For the project I combined techniques to the highest degree, for example I mixed 3D with 2D. There are several scenes that were very technically complex and required other people throughout different stages of the production. We had to do a lot of simulated animations that we could loop. But to keep them interesting, we added some other technical elements as well.

So the next step would be an even bigger project?

I would love to do a feature film, but we’ll see what comes of that. If the script doesn’t need it, then my next film may not be an animation. I would like to focus on writing for now and not just on depicting something in a visual way.

Still, there may be a combination of the two, but if something doesn’t want to work, then I won’t force it. For now, writing a dialogue or a narration is a new challenge. I write it first and then try to figure out how it should look.

‘Solar Walk’ is still quite fresh for me, so I don’t have any big plans at the moment, just small ideas, small visual experiments, that came out of the technical studies of the film.

I’m also interested in animation beyond cinema: I’m curious about animation as an art form and how to bring it into an exhibition space.

Zsófi Herczeg

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Young Hungarian Animators A new wave of Hungarian animation appeared a few years ago with two graduation films: ‘Rabbit and Deer’ (2013) by Péter Vácz, a stop-motion short about questions of the permeability of different dimensions; and ‘Symphony no. 42’ (2014) by Réka Bucsi, the absurd socio-critical short that was a huge success both at festivals and among audiences. ‘Rabbit and Deer’ has won over 120 awards from all over the world and ‘Symphony no. 42’ was shortlisted for the 87th Academy Awards. Since then, the spotlight has been on graduation films like ‘Limbo-Limbo Travel’ by Zsuzsanna Kreif and Borbála Zétényi, ‘Hugo Bumfeldt’ by Éva Katinka Bognár and ‘The Noise of Licking’ by Nadja Andrasev, as well as first films like ‘Superbia’ by Luca Tóth and ‘LOVE’, also by Réka Bucsi. They have been screened at several prestigious film festivals like Berlinale or Cannes, and three of them have won Oscar-qualifying awards. Contemporary Hungarian animation is mostly defined by animators who have graduated from MoholyNagy University of Art and Design in Budapest (MOME) who tell personal stories in a universal way or who experiment and push the limits of their imagination and technique. Here is a list of some of them.

Anna Katalin Lovrity’s MOME graduation film, ‘Volcano Island’ (2016), is a metaphorical story about sexual harassment between two tigers on an island, with a style resembling the digital cut-out techniques. ‘Volcano Island’ was selected into the Berlinale Generation Kplus programme last year and has screened at several prestigious festivals since. After graduating in 2016 Lovrity participated in Animation Sans Frontières, the European animation production and marketing workshop. As she develops her next short, ‘Lemon and Marble’, a symbolic story about an aging mother and her daughter, she is also working as a freelance animator and illustrator, with clients that include Telekom Hungary, McDonald’s and Kékló.

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HUNGARIAN FILM MAGAZINE 'Volcano Island'

'Dear John'

Péter Vácz finished his BFA and his MFA at MOME with ‘Rabbit and Deer’ (2013), which has been screened at more than 300 festivals in 63 countries, winning over 120 awards. In 2009 Vácz attended Animation Sans Frontières and took the Professional 3D Character Animation Course in Viborg, Denmark. Since 2013 he has been represented by the London-based Picasso Pictures production company, where he has made two award-winning music videos, ‘All I’m Saying’ and ‘Dear John’, for James, a British rock band. Since 2015 Vácz has been teaching and lecturing animation practice and theory alongside his own animation work. He is currently developing a stop-motion puppet animation Christmas-themed TV-special, ‘Noah’s Tree’.

Luca Tóth received her BFA from MOME, after which she studied animation at the Royal College of Art in London. A frequent activist, she is also known for the political and satirical web-series called ‘Oligarchy’. Her graduation film, ‘The Age of Curious’ (2013), has received a number of awards including Jury Distinction at Annecy International Film Festival. ‘Superbia’ (2016) premiered at the Critics Week in Cannes. The short sarcastically and surreally reflects on the absurdity of many of our prevalent and often seemingly irrefutable views on gender roles as they have been passed down through the generations. Tóth has recently been developing her next short, co-produced

by France’s Sacrebleu Productions.

'Superbia' Balázs Turai studied animation and performance for two years at ERG St. Luc, Brussels, and obtained an MFA in animation from MOME with his dystopian and grotesque graduation film, ‘Mirikal’ (2012). As a freelance animator he created a political web-series called ‘Oligarchy’ and co-directed the mixed animation/live-action documentary, ‘Prisoners of Tales’. He is currently developing an animated series with Flóra Buda called ‘The Piracy of Princess Priceless’, which won the Best Pitch

'Mirikal'

'Sullenness'

prize at the Visegrád Animation Forum in 2016.

Turai recently completed his new short film, ‘The Fall of Rome’, a co-production with Boddah and Croatia’s Adriatic Animation. The film is based on a comic he himself wrote.

Réka Bucsi received her BFA and her MFA at the animation department of MOME. Her absurd socio-critical graduation film, ‘Symphony no. 42’ (2014), was premiered at the 64th Berlinale and got shortlisted for the 87th Academy Awards. Her first independent film, ‘LOVE’, was screened at the official shorts competition at Berlinale, SXSW, Sundance and Annecy, and was nominated for the European Film Awards in 2017, as well as being shortlisted for the César Awards in 2018. Her latest short, ‘Solar Walk’, was originally made as a 50-minute background animation for a musical performance by the Danish Aarhus Jazz Orchestra. It will have its world premiere at Berlinale Shorts – her third movie in competition.

'Solar Walk'

Bálint Gelley’s MOME graduation film, ‘Hearth’ (2012), was selected at several festivals like Annecy, Animafest Zagreb, Animateka, Fest Anca, Anim’Est and Hiroshima International Film Festival. In 2013 he participated in Animation Sans Frontières.

In 2015 he founded the CUB Animation Studio with Bella Szederkényi in the incubation environment at MOME. The independent studio focuses on young talent, giving them a chance to realise their projects

in a professional environment. Gelley currently directs an animated TV series called ‘Door to Othertown’ based on a best-selling novel and works as a producer on several projects like ‘The Gardener’ by Borbála Tompa and ‘The Hide and Seek King’ by Bella Szederkényi.

Nadja Andrasev’s graduation film at MOME, ‘The Noise of Licking’ (2015), premiered at the Cinéfondation section in Cannes and won Third Prize. The short depicts an intimate and surreal relationship between a woman, a cat and her plants.

It has been screened at several festivals like Sarajevo, Annecy and Animafest Zagreb and has won 14 awards, including the main prize at the Oscar-qualifying New Orleans Film Festival. Andrasev participated in the Animation Sans Frontières workshop in 2015 and was an artist in residence at the Open Workshop in Viborg, Denmark, where she developed her next short, ‘Symbiosis’, which is about a young wife who seeks to find her husband’s lovers to study them in a natural sciences approach.

'The Noise of Licking'

Nándor Bera graduated from MOME in 2012 with his short entitled ‘Trees’, a trash film about looking for human relationships in a lifestyle that fuels hopelessness and unmotivation. He presented his animation series project ‘Sunshine News’, which he developed at MOME with Éva Katinka Bognár, at Cartoon Forum in 2010. He participated in the political HUNGARIAN FILM MAGAZINE

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'Trees'

web-series ‘Oligarchy’, which are satirical shorts about contemporary Hungarian politics.

In 2012 he started to develop a TV series with Balázs Turai based on Voltaire’s greatest work, ‘Candide’, and on György Kovásznai’s idea from the 1980s of how to adapt the satire. Adapted to the 21st century, the socio-critical and grotesque series was mainly directed by Zsuzsanna Kreif and Olivér Hegyi, except for the first two episodes which were directed by Bera. The series has screened at several animation festivals, including Annecy. Since then, he has been taking part in other projects as an animator and makes installations and background animations for plays.

Zsuzsanna Kreif finished her animation director studies at MOME in 2014.

Her graduation film, ‘LimboLimbo Travel’ (2015), was made with Borbála Zétényi and was co-produced with the French company Lardux Films. The surrealistic and satirical story is about eight women who each seek a male partner on a small island, at any cost. ‘Limbo-Limbo Travel’ has won several awards, including Silver Dragon at Krakow Film Festival, and has been screened at prestigious festivals like Sundance, Annecy, Clermont-Ferrand, Hong Kong and Golden Kuker International Animation Festival, as well as at Dok Leipzig and Anim’est. In 2010 Kreif spent a semester at Turku University in Finland as part of the Erasmus programme. In 2012 she participated in Animation Sans Frontières. She is directing an upcoming series called ‘Candide’,

a modern and grotesque adaptation of Voltaire’s greatest work. Besides animation projects she works as an illustrator and leads animation workshops for kids. Éva Katinka Bognár received her MFA diploma at MOME in 2015. Her graduation film ‘Hugo Bumfeldt’ has won several awards, including the main prize at the Oscarqualifying Austin Film Festival. During her studies she participated in numerous animation trainings and workshops in Denmark, France, Germany, Finland and Hungary, including Cartoon Springboard and Animation Sans Frontières.

After graduating she started teaching at MOME. In 2015 Bognár won the Visegrád Animation Forum pitching competition with co-director Zsuzsanna Kreif for their project ‘Operation Burning Corset’, an absurd fictional short 'Hugo Bumfeldt'

about sufragettes. She participated in the Contemporary Children’s Poetry and Songs project, incubated by MOME, where she made several animated shorts. She currently works as a concept artist and a character designer on series like ‘Door to Othertown’ by Bálint Gelley and ‘The Life of Martin Luther’ by Zsolt Richly. Besides directing, writing and developing animation films she is also deeply interested in interactive narratives and game design.

Zsófi Herczeg

'Limbo-Limbo Travel'

'Oligarchy'

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Rotting Hamlet Searching for the Avant-Garde Shakespeare in Péter Lichter and Bori Máté’s ‘The Rub’ Young experimental filmmakers Péter Lichter and Bori Máté will be screening their new adaptation of Hamlet, ‘The Rub’, at the Critics’ Week in Berlin. Their film is one of the most exciting Hungarian features for 2018, clearly demonstrating that avant-garde cinema is as engaging as ever.

“Sooner or later, you’ll have to go to sleep.” The sinister quote (lifted from Don Siegel’s ‘Invasion of the Body Snatchers’) serves as the motto for Péter Lichter and Bori Máté’s experimental feature film ‘The Rub’, but sleep is something that will not tempt you while watching the movie. Of course this will not be a regular film experience either, and will require another state of mind. But as the narrator Szabolcs Hajdu (a recent winner of Karlovy Vary’s Crystal Globe for ‘It’s Not the Time of My Life’) starts to recite the Hamlet monologues in a slow, brooding yet passionate manner, the unpredictable but carefully designed flow of images will surely teach you how it needs to be watched.

‘The Rub’ is an experimental film, yet it speaks to everyone. Not only because Shakespeare means something to everyone, but because Lichter is a skilled and experienced filmmaker who has been crafting avant-garde shorts since the age of 17. He has practically tested all forms of experimental film, and has achieved considerable local and international success, mainly with found footage films (‘Rimbaud’ won the Hungarian Film Critics’ Award in 2014). His first feature film, ‘Frozen May’, was released in 2017 and experimented with mixing avant-garde and genre traditions. Lichter created a postapocalyptic horror setting in a forest in winter, seen solely through the point of view of the protagonist, a survivor of the mysterious ‘Fall’ in 1990. The resulting film

is a meditation on different approaches to storytelling and invites both psychological and non-human interpretations.

However, Lichter’s new feature follows a different method. He and his collaborator, Bori Máté, manipulated the film footage by drawing and painting on it – a well-established avant-garde tradition mastered by Stan Brakhage, among others – and also partially destroying the material by pouring acid on it. Moreover, they buried some of the footage (a part of which was provided by the National Film Archive) in the ground for several weeks. Traces of decay created beautiful and haunting images, edited to retell the story of Hamlet’s demise. Lichter and Máté’s concept promises an original and fitting adaptation of Shakespeare’s classic.

The Critics’ Week, organised at the same time as the Berlin Film Festival, welcomes Bori Máté as a returning artist. Her debut short film, ‘The Headless Appearance’, was premiered in the same selection in 2017. This time Máté and Lichter bring not one but two of their films. Besides ‘The Rub’, another collaboration, the short film ‘8th October 2016’ will also be screened. The film, reflecting on the suspension of the independent Hungarian daily paper Népszabadság, proves that Lichter and Máté are versatile artists, always ready to surprise their audience. Just like true experimental filmmakers.

Bence Kránicz

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Coming Soon Upcoming films: various genres and authors, long-awaited first features and comebacks.

This is where you can learn all about them.

FESTIVALS: marta.benyei@filmalap.hu, kati.vajda@filmalap.hu INTERNATIONAL SALES: klaudia.androsovits@filmalap.hu

Coming Soon BAD POEMS / Rossz versek (Hu/Fr) dramedy DIRECTED BY GÁBOR REISZ PRODUCED BY JULI BERKES / PROTON CINEMA & LES FILMS DU BALIBARI 33-year-old Tamás Merthner is heartbroken after his girlfriend Anna, who is on a scholarship in Paris, breaks up with him. While wallowing in self-pity, Tamás takes a trip down memory lane to figure out if love only exists when it’s practically gone. As he’s trying to pick up the pieces, he begins to realise what makes this current society so confused, which gives us a highly subjective view of Hungary’s present.

BLOSSOM VALLEY / Virágvölgy (Hu) 1st feature film drama, road movie DIRECTED BY LÁSZLÓ CSUJA PRODUCED BY ANDRÁS MUHI, GÁBOR FERENCZY/ FOCUSFOX HNFF INCUBATOR PROGRAMME SELECTION ‘Blossom Valley’ is a socio-realist movie that plays with the genre of lovers-on-the-run. The actors are amateurs to whom these events didn’t happen, but could have happened.

Bianka, 20, finds herself drifting in the suburbs without any particular purpose. She has the sudden urge to steal a baby, which she does, but now she has to find a father and a home. When none of her ex-boyfriends are willing to lend a hand, the only one happy to help is Laci, 21, who is mentally disabled and living in a workers’ hostel.

Bianka sees this whole situation as little less than a thrilling role play, but Laci starts to love her and the baby, and will do whatever it takes to ensure a happy family life – and that is a challenge.

EASY LESSONS / Könnyu ´´ leckék (Hu) st 1 feature film documentary DIRECTED BY DOROTTYA ZURBÓ PRODUCED BY JÚLIA UGRIN / ÉCLIPSE FILM HNFF INCUBATOR PROGRAMME SELECTION Kafia is 17 years old. Three years ago, she fled to Hungary on her own, escaping from a child marriage in Somalia. She has been living in a children’s home in Budapest ever since. She learns the language, goes to high school, prepares for the Hungarian graduation exam and has started a modelling career. On the surface, everything seems fine. However, behind that beautiful and confident appearance lies a heavy heart.

Her repetitive daily routine revolves around constant dilemmas and self-doubt about leaving behind her Muslim culture and everything she grew up with. The film slowly becomes an intimate confession. What does it mean, on the brink of adulthood, to break with your past and fully give yourself up to a new self in order to live in Europe?

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Coming Soon GUERILLA (Hu) - 1st feature film drama

DIRECTED BY GYÖRGY MÓR KÁRPÁTI PRODUCED BY VIKTÓRIA PETRÁNYI, RÓBERT VÁMOS / PROTON CINEMA HNFF INCUBATOR PROGRAMME SELECTION The liberation war against the Habsburg Empire is close to its end in Hungary. Having hidden from military draft, Barnabás leaves his hometown and walks across the country to find and save his wounded brother who has been hiding with a guerrilla group deep in the forest.

Despite their exhaustion and lack of food or information, they are still fighting for their cause. Barnabás finds his brother alienated and distrustful. The tension between the boys increases further when they turn out to be attracted to the same nurse in the camp. Hoping he can earn his brother’s trust and take him home, Barnabás decides to stay and lie about his past. In the meantime, he has to face the cruelty of war.

GYPSY IN SPACE / Lajkó - cigány az ´u´ rben (Hu) - 1st feature film comedy

DIRECTED BY BALÁZS LENGYEL PRODUCED BY FERENC PUSZTAI / KMH FILM This black comedy allows us to learn that the first living being in space was not actually a dog called Lajka but a Hungarian crop-sprayer by the name of Lajkó. We discover that, in early 1957, the Soviet Union decides to give Hungary the honour of providing the first cosmonaut to orbit in space. The most suitable candidate turns out to be none other than Lajos Serbán, known to all as Lajkó, whose life as a pilot reflects his lifelong attraction to the stars and an unexplored infinity with outer space. When he is eventually selected for this daring mission, he has little notion of the fact that it is not by chance that his dreams are set to come true…

HIER / Tegnap (Hu-Fr-Nl-De-Se-Mo) 1st feature film drama DIRECTED BY BÁLINT KENYERES PRODUCED BY ANDREA TASCHLER / MIRAGE FILM The central character, 50-­year-old Victor Ganz, owns a thriving building and civil engineering company that operates worldwide. Some very costly problems on a building site in North Africa mean he has to go (he hates traveling) to a country where he is confronted with memories of his youth, which have been carefully buried in the depths of his mind. Meetings in ministries, disinformation, the reappearance of a past love who had mysteriously disappeared, and an investigation in the local underground to find her: Victor Ganz slowly plunges into a labyrinthine world where present and past intertwine.

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Coming Soon HIS MASTER’S VOICE / Az Úr hangja (Hu/Ca) sci-fi DIRECTED BY GYÖRGY PÁLFI PRODUCED BY FERENC PUSZTAI / KMH FILM with QUITE REVOLUTION PICTURES Based on the Stanisław Lem novel, ‘His Master’s Voice’ tells the story of a thirty-something Hungarian journalist who has never met his father, who defected to the United States in the seventies and disappeared.

However, himself about to start a family, he decides to travel to the States to find him. As a scientist, his father worked in a research group which examined “voices” from space in search of evidence of extra-terrestrial intelligent life.

Pálfi’s (‘Hukkle’, ‘Taxidermia’, ‘Free Fall’) new film aims to address the question of whether we are alone in the world, on the level of both the universe and the individual.

LIQUID GOLD / Folyékony arany (Hu) documentary

DIRECTED BY TAMÁS ALMÁSI PRODUCED BY JÚLIA UGRIN / ÉCLIPSE FILM Tokaj is one of the best-known wine regions in the world.

In the past, King Louis XIV of France, Queen Victoria, Peter the Great, Empress Elizabeth of Russia, Goethe and Beethoven drank their sweet wine, Tokaji Aszú, which was referred to as the “Wine of Kings, King of Wines". But the region was almost destroyed in the 20th century, when World War II and later mass-production during the socialist era caused serious damage. Since 1989, the region has been fighting to re-establish its earlier fame and to become recognised as such again.

But it has to face a new challenge: the global market.

Can it compete with the biggest international wine producers while working in one of the most impoverished areas of Hungary?

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Coming Soon ONE DAY / Egy Nap (Hu) - 1st feature film drama DIRECTED BY ZSÓFIA SZILÁGYI PRODUCED BY ÁGNES PATAKI, EDINA KENESEI / PARTNERSFILM LTD. HNFF INCUBATOR PROGRAMME SELECTION Anna, 40, teaches Italian. She has three children, a husband, a flat and permanent stress about how to make ends meet. When it comes to money, each penny counts, and when it comes to time, so does each minute.

Anna is constantly running around – from work to the nursery, to the school, to ballet, to fencing class. Each afternoon is a hectic road movie. This is an average day, business as usual. She finds out that her husband is cheating on her, which is anything but business as usual.

This film is a hyper-realistic experiment to follow a woman throughout a single day leaving out none of the seemingly boring details that would normally be left out, nor settling them with a symbolic montage in order to get to the more exciting or more eventful twists and turns of the plot. We live through every detail just like our protagonist does, and, like her, we have no choice.

Anna tries to keep up heroically, she tries to manage the day and not let things slide, she tries not to stop.

She can’t afford to focus on what really matters.

She doesn’t have the time.

OPEN / Nyitva (Hu) - 1st feature film dramedy DIRECTED BY ORSI NAGYPÁL PRODUCED BY GÁBOR KÁLOMISTA, DOROTTYA HELMECZY / MEGAFILM This is a relationship dramedy about a couple in their 30s adventuring through the confusing thrills of nonmonogamy. Hoping to escape the seemingly inevitable cheatings and betrayals, Fanni and Bálint come up with a desperate plan to save their loving but sexually deflated relationship by simply opening it. Hand in hand, they take a big splash into the brave new world of 21st century dating, realising too late that the waves can be quite murky and overwhelming. What at first seems like awkward fun later becomes a dangerous and painful game of trust and emotions.

The film explores the challenges of modern-day mating from a strong female point of view, dealing with gender roles and our (false) expectations of sex and relationships, with quirky humour and honesty.

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Coming Soon RUBEN BRANDT, COLLECTOR (Hu) animation DIRECTED BY MILORAD KRSTIC PRODUCED BY PÉTER MISKOLCZI / RUBEN BRANDT PROD. Ruben Brandt, a famous psychotherapist, is forced to steal 13 paintings from world-renowned museums and private collections to prevent his suffering from terrible nightmares. Accompanied by his four patients, he and his band of thieves strike regularly and with great success: the Louvre, Tate, Uffizi, Hermitage, MoMA… “The Collector” quickly becomes the most wanted criminal in the world. Gangsters and headhunters chase him around the world while the reward for his capture keeps rising, approaching a hundred million dollars.

A cartel of insurance companies entrusts Mike Kowalski, a private detective and leading expert on art theft, to solve the “Collector Case.”

SINISTER SHADOW / Rossz árnyék (Hu) experimental, drama DIRECTED BY ANDRÁS JELES PRODUCED BY ANDRÁS MUHI, GÁBOR FERENCZY / FOCUSFOX Widely known and respected for his earlier works, ‘The First Fling’ (1979), ‘Dream Brigade’ (1983), ‘The Annunciation’ (1984), ‘Why Wasn't He There?’ (1993) and ‘Joseph and his Brothers’ (2003), writer-director András Jeles’ ‘Sinister Shadow’ promises to reach beyond events and present us with a clear view of the world in all its complexity.

The leading characters in ‘Sinister Shadow’ are a young man with special abilities and his restorer father.

The central motif of this symbolic film is an emblematic work, ‘The Ambassadors’, painted by the Renaissance artist Hans Holbein the Younger, of which the restorer is commissioned by his friend to produce a perfect replica.

The masterpiece slowly reveals its hidden messages as we learn that reproducing an artwork of such astounding quality is not only the ultimate test of his painterly ability but also a journey of discovery that sheds a bright light on his life to date and presents us with a terrifying question.

SUNSET (Hu) drama DIRECTED BY LÁSZLÓ NEMES PRODUCED BY GÁBOR SIPOS, GÁBOR RAJNA / LAOKOON FILMGROUP Laszlo Nemes, the Oscar- and Golden Globe-winner director of 'Son of Saul', returns with his sophomore feature which is set in 1913, Budapest, the heart of Europe. Irisz Leiter, 20, arrives in the Hungarian capital after spending her younger years in an orphanage.

Hoping to work as a milliner in the legendary hat store which belonged to her late parents, she is first driven away by Oszkar, the new owner. When a man abruptly comes to her looking for “Kalman Leiter”, she is suddenly confronted with her past. As she searches for answers about her family and stumbles upon dark secrets, she is drawn into the turmoil of a civilisation on the eve of its downfall.

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Coming Soon TALL TALES / Apró mesék (Hu) historical thriller DIRECTED BY ATTILA SZÁSZ

PRODUCED BY ÁBEL KÖVES, TAMÁS LAJOS / FILM POSITIVE Set in Hungary in 1945, shortly after the end of World War II, when chaos and insecurity reign supreme in the country, ‘Tall Tales’ tells the story of a conman who is trying to take advantage of these confused times, when an unexpected encounter changes the course of his life.

This twist-filled historical thriller with a romantic plot at its centre is the fourth collaboration between director Attila Szász and screenwriter Norbert Köbli, following swiftly on from multi-award winning TV productions including ‘Demimonde’ and ‘The Ambassador to Bern’.

TROUPERS / Vándorszínészek (Hu) drama, road movie DIRECTED BY PÁL SÁNDOR PRODUCED BY PÁL SÁNDOR / FILMSTREET Set in the early 1800s, based on the diary of a prompter, this period road movie is laced with humour and irony.

Come snow, frost or scorching heat, a ragtag band of comedians trudge along highways and byways, hoping to make it to the capital and perform in a real theatre in front of a sophisticated audience.

Love, friendship, betrayal and reconciliation – anything is possible on this inner and outer journey, aback a rickety round-top wagon.

X (Hu) thriller, drama DIRECTED BY KÁROLY UJJ MÉSZÁROS PRODUCED BY ATTILA TŐZSÉR, ANDRÁS MUHI / FOCUSFOX Personal dramas and a murder mystery unfold in present-day Budapest, where the demonstrations of an angry new generation are part of the pre-election life of a city; where the historical and recent past still haunts its people, resulting in concealed and horrendous crimes.

It is a city where nothing seems honest and true, except an emotionally unstable policewoman and her misfit daughter who wants to know who her father truly was.

This drama-thriller is the second feature film by the director of the multi-award-winning, 2015 box-office hit, ‘Liza, the Fox-Fairy’.

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New Films from

Hungary Flip through the latest titles in every genre and learn about the cast, crew and contacts.

Feature Film

1945

A KIND OF AMERICA 3 (Valami Amerika 3)

93 min, 2017

103 min, 2018

Director: Ferenc Török Main cast: Péter Rudolf, Eszter Nagy-Kálózy, Tamás Szabó Kimmel, Bence Tasnádi Producers: Iván Angelusz, Péter Reich Production company: Katapult Film Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Director: Gábor Herendi Main cast: Csaba Pindroch, Győző Szabó, Ferenc Hujber, Eszter Ónodi, Szonja Oroszlán Producers: Gábor Herendi, Mónika Nagy, Eleonóra Peták Production company: Skyfilm Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

On a sweltering August day in Hungary in 1945, villagers prepare for the wedding of the town clerk’s son. Meanwhile, two strangers arrive at the village train station with mysterious boxes labelled “fragrances”. The villagers are afraid that survivors will return, posing a threat to the properties and possessions they acquired during the war.

Thanks to conman Alex, loser brothers Tamás, Ákos and András get into situations that are even more impossible than ever. Circumstances are further complicated by the police and two rival mafia gangs, run by Bala and Toni.

The hunt is on for a mysterious stamp worth millions of euros, and the boys’ fate is once again in danger. Eszter and Timi join in the fun in the race against the clock.

Will the hapless bunch manage to escape unharmed again?

Director-screenwriter Ferenc Török (Budapest, 1971) is a prominent figure of the new generation of Hungarian filmmakers who are said to have appeared on the scene in 2000. After graduating from the Academy of Drama and Film and directing a number of successful shorts, Török made his first feature, the emblematic ‘Moscow Square’ (Moszkva tér, 2001), which became one of the most important cult films after the regime change.

Festivals and awards: 2017 - Miami Jewish Film Festival - Audience Award 2017 - San Diego Jewish Film Festival - In Competition 2017 - Budapest Titanic International Film Festival 2017 - Berlin International Film Festival, Panorama section - 3rd Place, Audience Award 2017 - Warsaw Jewish Film Festival - Best Screenplay, Best Actor, Audience Award 2017 - San Francisco Jewish Film Festival - San Francisco Film Critics Circle Award, Audience Award for Best Narrative Feature Supported by the Hungarian National Film Fund

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Gábor Herendi earned his reputation with blockbusters like ‘A Kind of America’ and ‘Kincsem - Bet on Revenge’.

Supported by the Hungarian National Film Fund

Feature Film

AURORA BOREALIS (Északi fény) 104 min, 2017 Director: Márta Mészáros Main cast: Mari Törőcsik, Ildikó Tóth, Franciska Törőcsik, Antonio de la Torre, Hary Prinz, Lesław Żurek Producers: István Major, Gül Togay Production company: Filmteam Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu “If you want to tell the truth, honesty is not enough.”

Living in Vienna, Olga realises that there are secrets and lies in her family’s past, and she will not be able to put her own life in order until she works out the truth of what really happened. After returning to Hungary, her elderly mother did everything in her power to keep the past a secret from her daughter and lied to her for years, but when she falls into a coma, Olga finds a mysterious photograph and starts to search for the truth.

Auteur of ‘Adoption’ (Golden Bear, Berlinale, 1975), ‘Nine Months’ (Prix FIPRESCI, Cannes, 1977) and ‘Diary for my Children’ (Grand Prix Special du Jury, Cannes, 1984), Márta Mészáros has once again directed a film that examines a social taboo, this time exploring the story of children fathered by occupying Russian soldiers.

Festivals and awards: 2017 - Calcutta International Film Festival, in Competition 2017 - Luxembourg CinÉast, Opening Film 2017 - Tallinn Black Nights Film Festival 2017 - Warsaw Film Festival 2017 - Chicago International Film Festival, Audience Award Supported by the Hungarian National Film Fund

BEHIND THE COLUMN (Hetedik alabárdos) 1 feature st

86 min, 2017 Director: Csaba Vékes Main cast: Gergely Bánki, Ilona Sárközi-Nagy, Zoltán Bezerédi, Ervin Nagy, Dénes Ujlaki, Tünde Murányi, Gábor Ónodi Producers: Gábor Herendi, Eszter Fancsikai, Péter Fancsikai, Csaba Vékes, Zsolt Szentesi Production companies: Skyfilm, Backfront, Blue Duck, Blue Duck Arts Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu This film examines the career of an unsuccessful actor who suddenly finds himself pulled from the wings to become the leading stage director in a theatre, where he struggles to achieve his own dreams and battles to keep the company together. Set in the world of modern theatrical life, this satire, due to its very nature, has a certain sense of the surreal. “This story was inspired by 13 years spent working in theatre and is built on my own experiences, imagination and stifled aspirations.

When you spend this long in the profession you soon see the viciousness beyond the velvet. The ‘temple of culture’ provides the perfect setting for sharp satire with a complex cast of charismatic characters from the all-powerful porter to the back-office harpies. That's the story I wanted to tell.”

Csaba Vékes graduated as an actor in 2006 from the University of Kaposvár. In 2009 he founded the Blue Duck Arts Screenwriter Company. His first short film, ‘Station’, was presented at the Montreal World Film Festival in 2015. His second short film, ‘Mood-Swing’, won the Best Young Audiences Prize at the Guimares Cinema Som Festival. ‘Behind the Column’ is his first feature film.

Festivals and awards: 2017 - Montreal International Film Festival, in Competition 2018 - Jameson CineFest International Film Festival Supported by the Hungarian National Film Fund.

HNFF Incubator Programme selection

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Feature Film

KINCSEM - BET ON REVENGE (Kincsem)

BRAZILS (Brazilok) 1

121 min, 2017

95 min, 2017

Director: Gábor Herendi Main cast: Ervin Nagy, Andrea Petrik, Tibor Gáspár Producers: Tamás Hutlassa, Gábor Herendi Production company: Café Film Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Directors: Csaba M. Kiss, Gábor Rohonyi Main cast: Erik Lakatos, Barnabás Bergendi, Dániel Viktor Nagy Producers: Mónika Mécs, Ernő Mesterházy Production company: M&M Film Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Hungarian aristocrat and supreme horse trainer Sándor Blaskovich is killed by his former friend, the Austrian officer Otto von Oettingen, while arresting him for treason. von Oettingen takes over the Blaskovich castle with his young daughter Klára, while Sándor’s orphaned son Ernő has to move to a poor labourer’s cottage.

Ernő cannot forgive von Oettingen for taking his father’s life, land and honour. Years later, he goes on to purchase and train a magnificent horse called Kincsem, which he believes will be his winning ticket to regaining the family home. The horse grows into an unbeatable champion but is wild and unruly just like the woman who also shows a keen interest in Kincsem: Klára von Oettingen.

After several years of working as a creative director for the advertising agency BBDO Hungary, Gábor Herendi (1960) started his own commercial production company, Skyfilm Studio, in 1991. After 10 years and over 500 commercial spots, he decided to direct his first feature film, ‘A Kind of America’ (Valami Amerika, 2001). Herendi is the winner of many awards, including the Highest Cinema Admissions Award, which he has received three times.

Festivals and awards: 2017 - Kyoto Historica International Film Festival 2017 - Alter-Native Film Festival 2017 - Wine Country Film Festival Supported by the Hungarian National Film Fund

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st

feature

An ethno-tale with humour and tears. Chaos erupts among the Gypsy population of the town of Acsa when the mayor, urged by the new young priest of the village, announces that the Gypsy football team called “Brazils” can also take part in the football championship of the village. Thanks to a Brazilian millionaire originally from Acsa, the winning team will be invited to Rio de Janeiro.

And so the championship begins. Events, emotions and anger take unpredictable directions. Those who end up winning were not supposed to win, and those who find love were not supposed to fall in love with each other.

Festivals and awards: 2017 - Sao Paulo International Film Festival 2018 - Bali International Film Festival Supported by the Hungarian National Film Fund

Feature Film

BUDAPEST NOIR 95 min, 2017 Director: Éva Gárdos Main cast: Krisztián Kolovratnik, Réka Tenki, Tamás Fodor, János Kulka, Adél Kováts Producer: Ildikó Kemény Production company: Pioneer Pictures Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu Set in the politically troubled autumn of 1936, this story follows Zsigmond Gordon, a world-weary reporter asking unwanted questions about the seemingly unimportant murder of a young prostitute found beaten to death and dumped in a courtyard. While supposedly covering the funeral of fascist-leaning, real-life Hungarian prime minister Gyula Gömbös, Gordon’s investigation leads him deep into the city’s dark underbelly – a shady world of pornographers, fixers, all-night “smokers”, boxing rings, seedy brothels, powerful crime syndicates and communist cells – all the way to the highest echelons of power, where one of Hungary’s most influential businessmen plans to make a fortune through his political ties with Germany’s leadership – as long as he can somehow keep his Jewish heritage a secret.

Originally published in 2008, the novel ‘Budapest Noir’ proved popular with both public and critics and became an instant bestseller, which sparked several sequels and has gone on to appear in numerous languages around the world. Éva Gárdos (Budapest, 1950) is known for her work on 'Apocalypse Now' (1979), 'American Rhapsody' (2001) and 'Children of Glory' (2006).

Festivals and awards: 2017 - Chicago International Film Festival In Competition 2017 - Hollywood Music In Media Awards – Best Original Score, Independent Film (Foreign Language) 2018 - Atlanta Jewish Film Festival Jury Prize Competition

THE BUTCHER, THE WHORE AND THE ONE-EYED MAN (A hentes, a kurva és a félszemu ´´ ) 105 min, 2017 Director: János Szász Main cast: Dorka Gryllus, Géza Hegedűs D., Zsolt Nagy Producer: István Bodzsár Production company: Unio Film Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu 1925 saw a terrible scandal shake the city of Budapest.

Ferenc Kudelka was slaughtered in his own abattoir, cut up, bundled into suitcases and carried through the city streets to eventually be dumped in the Danube. This gruesome crime was committed in cold blood but in an atrociously amateur fashion by a former gendarme, Gusztáv Léderer, and his ex-prostitute wife Mária.

Kudelka the butcher falls passionately in love with the wife of the former gendarme, with the full knowledge and assistance of her husband: he is able to spend hours of pleasure with the man’s wife in return for a small amount of money. Driven by greed, the Léderer couple – after two failed attempts – eventually succeed in killing Ferenc Kudelka.

János Szász (Budapest, 1958) studied drama and stage direction at the Academy of Theatre and Film Arts and spent four years at the National Theatre Budapest. His feature films are: 'Szédülés' (1990), 'Woyzeck' (1994) and 'Witman fiúk' (1997), 'Opium - Diary of a Madwoman' (2007), 'Le Grand Cahier' (2013) and 'The Butcher, the Whore and the One-eyed Man' (2017).

Festivals and awards: 2017 - Haifa International Film Festival - In Competition 2017 - Ghent Flanders International Film Festival In Competition 2017 - Bydgoszcz Camerimage – In Competition Supported by the Hungarian National Film Fund

Supported by the Hungarian National Film Fund

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Feature Film

COYOTE (Kojot) 1

st

feature

GENESIS (Genezis)

127 min, 2017

120 min, 2018

Director: Márk Kostyál Cast: András Mészáros, Mária Dobra, László Mátray, Attila Bocsárszky, Levente Orbán, Frigyes Kovács, Gabriella Szabó, Lehel Salat Producers: Gábor Kálomista, Dorottya Helmeczy Production company: Megafilm Ltd. Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Director: Árpád Bogdán Main cast: Anna Marie Cseh, Enikő Anna Illési, Milán Csordás Producers: Andrea Taschler, Gábor Ferenczy Production company: Mirage Film, FocusFox Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Sultry heat, dinginess, unspoken social problems and hierarchical infighting. This is the town of Tűzkő, somewhere in present-day Hungary. This is where Misi arrives to inherit his grandfather’s house and property.

Misi is a disillusioned and frustrated young man who is constantly on the run and does not find his place in the world, in work or in relationships. He commits himself to rebuilding the house with some of his friends, which disrupts the interests of the local leaders. Serious struggles ensue for the land, for love and for life. Misi transforms into a coyote in all respects. This is a real Eastern with extraordinary imagery.

Márk Kostyál is an actor and director, known for 'Kojot' (2017), 'Szezon' (2004) and 'TV a város szélén' (1998).

Festivals and awards: 2017 – European Film Festival Palic 2017 – Alter-Native Film Festival Supported by the Hungarian National Film Fund

Genesis provides a dramatic depiction of sin, catharsis and rebirth. The story is formed around the fate of a young Roma boy, whose childhood reaches a sudden and drastic end when he loses his family in a tragic and brutal attack. Already buried in her work, a young female lawyer succumbs to pressure from her superior and undertakes the defence of one of the men facing trial for the part he reputedly played in this infamous series of racist murders. it is while researching the case that she comes into contact with the young boy, called as a witness, and this chance meeting changes both their lives forever. A mysterious teenage girl also becomes involved when her boyfriend’s dark secrets come to light.

With strong biblical roots, the story is told via the journeys of very different individuals from completely separate sections of society whose paths never cross but whose fates become intricately entwined as they twist through the shadow cast by this horrendous crime.

The protagonists in Genesis decide their various fates based on the universal human values of faith in life, solidarity and responsibility, and each is then presented with the chance of a new beginning, a new life. Árpád Bogdán (1980) lived in a children’s home from the age of 4. He started working as an actor and stage director in theatres during his college years. He has organised creative forums for disadvantaged children using various aspects of theatre, film and literature.

His directorial debut, ‘Happy New Life’ (2007), received international acclaim at several festivals and was premiered in the Panorama section at the Berlinale 2007 and won the Special Mention of the Jury.

Festivals and awards: 2018 - Berlin International Film Festival, Panorama Special Supported by the Hungarian National Film Fund

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Feature Film

JUPITER’S MOON (Jupiter holdja) 122 min, 2017 Director: Kornél Mundruczó Main cast: Merab Ninidze, György Cserhalmi, Zsombor Jéger, Móni Balsai Producers: Viktória Petrányi, Viola Fügen, Michael Weber Production companies: Proton Cinema and Match Factory Productions Festivals, sales: info@matchfactory.de A young immigrant is shot down while illegally crossing the border. Terrified and in shock, wounded Aryan can now mysteriously levitate at will. Thrown into a refugee camp, he is smuggled out by Dr Stern, who is intent on exploiting his extraordinary secret. Pursued by the enraged camp director László, the fugitives remain on the move in search of safety and money. Inspired by Aryan’s amazing powers, Dr Stern takes a leap of faith in a world where miracles are trafficked for small change…

Kornél Mundruczó is a Hungarian screenwriter, film and theatre director and the founder of Proton Cinema and Proton Theatre. His cinematic works have received international acclaim. Among numerous nominations and awards, his 2014 film ‘White God’ won him the Un Certain Regard Award at the Cannes Film Festival.

Festivals and awards: 2017 - Cannes International Film Festival - In Competition 2017 - Ostend Film Festival - Best Cinematographer 2017 - Sitges International Film Festival - Best Feature Length Film, Best Special Effects, Time Machine Career Achievement Award for Kornél Mundruczó 2017 - Austin Fantastic Fest - Best Director 2017 - Manaki Brothers Film Festival - Best Cinematographer Selected at more than 20 festivals.

Supported by the Hungarian National Film Fund

THE LEGEND OF KING SOLOMON (Salamon király kalandjai) 80 min, 2017 Director: Albert Hanan Kaminski Producers: Réka Temple, Edna Kowarsky Production companies: Cinemon Entertainment / Eden Productions Festivals: angela@prettyps.co.uk Sales: simon@scfilmsinternational.com Solomon is a humorous adaptation for children of folk tales about a legendary king. Young Solomon falls in love at first sight with the Queen of Sheba, who has arrived to gauge his wisdom. In his eagerness to impress her, he breaks his late father’s command and releases the devil Asmodeus from his prison at the heart of Earth. The latter takes over the kingdom and blows Solomon away to the desert. There he meets Princess Naama who falls in love with him and assists him in locating the Shamir, a magical creature that can carve into stone and return Asmodeus back to hell, putting an end to his tyrannical thirst for power.

Albert Hanan Kaminski is the director of several international theatrical animated feature films, screened in more than 60 countries, and of a dozen acclaimed TV series. Amongst them: ‘The Real Shlemiel’; ‘Pettson and Findus – The Cat and the Old Man’s Year’; ‘Sesame Street’; and ‘The Wumblers’. In 2015 Hanan Kaminski received the Pucinella Career Award at the Cartoons on the Bay - International Television and Cross-media Animation Festival in Venice. He is presently working as an associate professor at the Tel-Aviv University and at the Bezalel Academy of Art and Design in Jerusalem where he created the Animation Studies Programme.

Festivals and awards: 2017 - ANIMA Córdoba International Animation Festival 2017 - Haifa International Film Festival 2018 - Hungarian Film Week Supported by the Hungarian National Film Fund

HUNGARIAN FILM MAGAZINE

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Feature Film

ON BODY AND SOUL (Testro ´´ l és lélekro ´´ l)

OUT 1

116 min, 2017

83 min, 2017

Director: Ildikó Enyedi Main cast: Géza Morcsányi, Alexandra Borbély, Zoltán Schneider Producers: Mónika Mécs, András Muhi, Ernő Mesterházy Production company: Inforg - M&M Film Kft. Festivals: louis@filmsboutique.com Sales: emma@filmsboutique.com

Director: György Kristóf Main cast: Sándor Terhes Producers: Marek Urban, Ferenc Pusztai, Yiri Konecny, Andrea Tashler, Nándor Lovas Production companies: Sentimentalfilm (SK), Endorfilm (CZ), KMH Film (HU), Mirage Film (HU) Festivals, sales: sebastien@cercamon.biz

By complete chance, two introverts find out that they share the same dream every night. They are puzzled, incredulous and a bit frightened. As they hesitantly accept this strange coincidence, they try to recreate what happens in their dream in broad daylight.

Ágoston, a family man in his 50s, sets off to wander through eastern Europe in the hope of finding a job and fulfilling his dream of catching a big fish. In the Baltics he finds himself with nothing but sea salt and wind at his neck. The journey whirls him deeper and deeper into a sea of bizarre events to meet a tall friendly woman, a Russian friend with unfriendly intentions and a sad, stuffed rabbit with no ears. Waves spread over the sand and flow slowly backwards. A new wave arrives to sweep the previous one away. This is where the sea ends, but by no means where it begins.

Ildikó Enyedi has written and directed five feature films and several shorts, for which she has won more than forty international prizes. She is also a member of the European Film Academy.

Festivals and awards: 2017 - Berlinale International Film Festival Golden Bear, FIPRESCI Prize, Ecumenical Jury Prize, Berliner Morgenpost’s Reader Jury Prize 2017 - Hong Kong International Film Festival In Competition 2017 - Sydney Film Festival - Sydney Film Prize 2017 - European Film Awards - Best European Actress (Alexandra Borbély) 2017 - Camerimage - Golden Frog Award for the cinematography 2018 - 90th Academy Awards - Best Foreign Language Film, nominated Supported by the Hungarian National Film Fund

st

feature

György Kristóf worked as an assistant director before he met Ildikó Enyedi, who became his first mentor. In 2008 he started his film studies at FAMU in Prague. He directed short films that have been invited to over 50 festivals and have won several awards. After finishing his BA studies in 2011, he moved to Latvia for a year and worked as a director for TV commercials. He returned to FAMU to study his masters degree and finish his first feature film, ‘Out’.

Festivals and awards: 2017 - Cannes Film Festival - Un Certain Regard Section 2017 - Karlovy Vary International Film Festival 2018 - Trieste Film Festival Supported by the Hungarian National Film Fund

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HUNGARIAN FILM MAGAZINE

Feature Film

PAPPA PIA

STRANGLED (A martfu ´´ i rém)

105 min, 2017

118 min, 2016

Director: Gábor Csupó Main cast: Bernadett Ostorházi, Tamás Szabó Kimmel, Feró Nagy, Vera Kováts, András Mózes, András Stohl Producers: Attila Tőzsér, Gábor Kálomista Production company: Focus Fox Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Director: Árpád Sopsits Main cast: Péter Bárnai, Károly Hajduk, Zsolt Anger, Gábor Jászberényi, Zsolt Trill, Zsófia Szamosi, Móni Balsai Producers: Gábor Ferenczy, Attila Tőzsér Production company: Focus Fox Studio Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: klaudia.androsovits@filmalap.hu

Papi is the world’s dodgiest pensioner, with only a winning smile to offer by way of payment. With nowhere to live, he sets up home in a boathouse on the banks of the Danube. No sooner is he settled than Wizy, his neighbour and the owner of a flashy discotheque, sets his sights on Papi’s home, which he wants to turn into a stunning nightspot. Far from phased but with little idea of what to do, the old man seeks assistance from his grandson Tomi. The kid is a little less dodgy than his grandpa but with plenty more charm, and is keen to call on his mates to lend a hand.

This gang of hapless hopefuls takes on the might of Wizy and his thugs and attempts the impossible: to temporarily transform the boathouse into a ruin pub to collect the cash they need to survive.

Their hopes are many and their chances are few – but in a romantic comedy such as this, where everyone is a musician and/or in love, anything can happen. And at least that gives us the chance to listen to a whole stack of oldies but goodies…

Festivals and awards: 2017 – Hungarian Film Festival of Los Angeles Supported by the Hungarian National Film Fund

An innocent man who spends 10 years in prison for something he never did. A serial killer at large who almost gets away with his crime. A prosecutor who demands the death sentence for the innocent man and later tries to prevent the truth from being revealed.

An investigator who is finally obliged to conduct investigations against himself. And another investigator who is obsessed with justice... This is the story of these people and their families, intertwined in three timelines and presented in a psychological thriller in the unique atmosphere of rural Hungary in the 1950s and 1960s.

Festivals and awards: 2016 - Warsaw International Film Festival In Competition 2016 - Cairo International Film Festival 2017 - Hungarian Film Week - Hungarian Film Award For Best Film, Best Editing, Best Cinematography, Best Make-Up, Best Production Design, Best Original Music, Best Actress 2017 - Beaune Festival Du Film Policier - In Competition 2017 - Liege Policier IFF - Audience Award 2017 - Parma Music Film Festival, Best Film's Violetta d'Argento, Best Cinematography 2017 - Sitges International Film Festival Supported by the Hungarian National Film Fund

HUNGARIAN FILM MAGAZINE

63

Feature Film

TALES FROM THE LAKESIDE (Lengemesék)

THE WHISKEY BANDIT (A Viszkis)

64 min, 2017

126 min, 2017

Director: Zsolt Pálfi Producer: Réka Temple Production company: Cinemon Entertainment Festivals: reka@cinemon-entertainment.com Sales: klaudia.androsovits@filmalap.hu

Director: Nimród Antal Main cast: Bence Szalay, Piroska Móga, Zoltán Schneider, György Gazsó, Viktor Klem, Gábor Csöre, Imre Csuja, Tamás Keresztes Producers: Tamás Hutlassa, Barnabás Hutlassa Production company: Café Film Festivals: kati.vajda@fimalap.hu Sales: klaudia.androsovits@filmalap.hu

The green Verdies are the tiny but brave guardians of the lakeside. The young Verdies only become guardians when their hair turns brown. Until then life is boring.

The youngsters with green hair are not allowed to fly on warblers, row alone or ride wild frogs at the rodeo. Willy Whistle’s big dream is to become a guardian, but his curiosity always gets him into trouble. One day, the whole lake becomes at risk when the enemies of the lakeside, the Grimps and the swans, enter into alliance. The guardians are helpless, but Willy comes up with a daring plan in order to save his home and his trapped friend, Jeremiah Jump. Luckily he is not alone, because Grandpa, the water snakes and the frogs also come to his aid…

Supported by the Media Patronage Programme of the Hungarian Media Council

Between 1993 and 1999, one man robbed 29 financial institutions in Budapest. Banks, post offices and travel agencies fell victim to his criminal spree. The police had no leads and no hope of finding him during his six-year stint. The only clue left behind at the crime scenes was the distinct aroma of whiskey. Which is why the media named him the “Whiskey Bandit”.

Never physically harming anyone, many began to follow his escapades through the media and soon even started to root for him. His capture would only bring more intrigue. A Transylvanian immigrant who also happened to be a goalie for one of the city’s largest hockey teams, Attila Ambrus was eventually identified as the “Whiskey Bandit”. The police had finally captured him... or so they thought.

Antal Nimród is best known for writing and directing the Hungarian-language film 'Kontroll' (2003), which won numerous awards, including the Award of the Youth at the 2004 Cannes Film Festival and the Golden Hugo (main prize) at the Chicago International Film Festival, as well as a European Film Award nomination for Best Director. His other well known movies are: 'Predators' (2010), 'Metallica Trough the Never' (2013), 'Wayward Pines' (1 episode, 2015) Festivals and awards: 2017 - Chicago International Film Festival - In Competition 2017 - Filmfest Warszawa - Out of Competition Supported by the Hungarian National Film Fund

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HUNGARIAN FILM MAGAZINE

Feature Documentary

BARTÓK

GRANNY PROJECT

61 min, 2017

90 min, 2018

Director: József Sipos Cast: Péter Bartók Producer: Krisztina Détár Production company: Filmnet Production Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: pcnfilm@pcnfilm.hu

Director: Bálint Révész Cast: Rosanne Cholchester, Gudrun Dechamps, Lívia Révész, Meredith Cholchester, Ruben Woodin-Dechamps, Bálint Révész Producers: László Kántor, Bálint Révész Production companies: Új Budapest Filmstúdió, Gallivant Film Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu Sales: rev.balint@gmail.com

The position of Béla Bartók in the world’s universal musical history is well known and clear to everyone.

Do we really know his personality, his attitude to his birthplace and to the world or his human character?

Our film tries to find an answer to what kind of person Bartók was as a private person, a patriot, a public figure and a cosmopolitan. We discover the relationship between "society" and the geniuses who tried to create and form our world, especially during the tragic times throughout history.

József Sipos is a Hungarian director. His main works include: 'Embers'; 'Eszter's Inheritance' (Festival Award of Salerno) and 'Adventure', which are all adaptations of Sándor Márai's novels of the same title, as well as 'The Lost European' (2015), a documentary about Raoul Wallenberg.

Supported by the Media Patronage Programme of the Hungarian Media Council

“Granny Project” is a seven-year-long investigation of three young men coming to terms with their heritage through the extraordinary lives of their grandmothers: an English spy, a dancer from Nazi Germany and a Hungarian communist Holocaust survivor.

The three man move back and forth across Europe at the same time as their grandmothers set off on a virtual journey down memory lane. They transport their grannies back to their youth and in doing so provide us with an insight into the transcendental connection between grandparents and grandchildren, on the verge of the 21st century.

Bálint Revesz is a young director/producer from Hungary who focuses on the border between documentary and fiction. He is the founder of the London-based Gallivant Film collective and the producer behind 'Another News Story', a doc in competition at, among others, KVIFF and ZFF, and presented at IDFA in 2017.

Festivals and awards: 2017 - DOK Leipzig - MDR Award 2018 - Hungarian Film Critics Award

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Feature Documentary

ULTRA 81 min, 2017 Director: Balázs Simonyi Cast: Béla Szabó, Judit Tancsics, Annett Bahlcke, Herbert Ziefle, Balázs Simonyi and Françoise, Angel and Gilles Pallaruelo Producers: László Józsa, Balázs Simonyi, Hanka Kastelicova, Anna Zavorszky, Rea Apostolides, Yuri Averof Production companies: Speak Easy Project, HBO Europe, Anemon Productions Festivals, sales: cat@catndocs.com, maelle@catndocs.com How far do you have to go to get close to yourself?

Punctuated with humour, ‘ULTRA’ tells a touching human drama about ​amateur runners and their universe of cathartic self-discoveries, voluntary suffering and hypnotic state of mind. A real first-hand experience, a unique insight into an unknown world and a journey into the past, hearts and mind ​of everyday athletes​.​ Balázs Simonyi (Budapest, 1980) graduated in literature and film and is currently completing his PhD in art theory. He has been working as a freelance film director and producer since 2002. His films have been screened at major festivals, from Cannes and Karlovy Vary to Cracow and from Aspen and St. Louis to Seattle and Vancouver.

Festivals and awards: 2017 - Visions Du Réel - Grand Angle Section 2017 - Krakow International Film Festival In Competition 2017 - DOK.fest München 2017 - European Film Awards, Documentary Selection

A WOMAN CAPTURED (Egy no ´´ fogságban) 89 min, 2017 Director: Bernadett Tuza-Ritter Producers: Julianna Ugrin, Viki Réka Kiss Production company: Éclipse Film Festivals: viki.reka@gmail.com Sales: aleksandar@syndicado.com A 'Woman Captured' is about Marish, a 52-year-old Hungarian woman who has been serving a family for a decade, working 20 hours a day - without getting paid. Her ID was taken from her by her oppressorsand she's not allowed to leave the house without permission.

Treated like an animal, she only gets leftovers to eat and no bed to sleep in. Marish spends her days with fear in her heart, but dreams of getting her life back.

The presence of the camera helps her realise she isn’t completely alone. She begins to show signs of trust; after 2 years of shooting, she gathers up her courage and reveals her plan: “I am going to escape.” The film follows Marish’s heroic journey back to freedom.

Bernadett Tuza-Ritter is a Hungarian independent film director and editor specialising in creative documentaries and fiction. She studied directing and editing at the University of Theatre and Film Arts Budapest. In 2013 she worked as a director in the project called ‘Cinetrain – Russian Winter’, which won the audience award at Vision du Réel documentary festival. She is a member of HSE and Hungarian Film Academy. Her first featurelength documentary A Woman Captured premiered at IDFA 2017 Main Competition. After its world premiere it was selected by Sundance Film Festival 2018 – World Cinema Documentary Competition, and thus in January of 2018 it will have been the first Hungarian featurelength film ever to compete at Sundance.

Festivals and awards: 2017 - IDFA - Main Competition 2018 - Sundance Film Festival - World Cinema Documentary Competition 2018 - ZagrebDox Supported by the Media Patronage Programme of the Hungarian Media Council

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HUNGARIAN FILM MAGAZINE

TV Documentary

MOTHER’S IMPRINT (Beágyazott emlékeink)

THREE DANCES (Három tánc)

71 min, 2017

78 / 52 min, 2018

Director: Kata Oláh Producer: Sándor Csukás Production company: TV Com - Makabor Studio Festivals, sales: 1kataolah1@gmail.com

Director: Glória Halász Cast: students of the Hungarian Dance Academy Producer: Gábor Osváth Production company: Filmfabriq Festivals: info@filmfabriq.hu Sales: arianna.castoldi@groupe-ab.fr

This is the story of an eastern European woman born in 1940. My mother. Through the kaleidoscope of her painful memories narrated in sentences, timeless pains open up and reveal events that we have never heard of before. The difficult times during the communism era, of the revolution in 1956 and of the regime change in 1989 have left their mark on her life and soul, deepening her lost identity. Her only grandson is the first in the family to find a connection with the belief of his greatgrandparents. As a messenger of the ancestors, he can help his grandmother - our mother - to remember.

Kata Oláh has always worked in the film industry, but it was only 5 years ago that she started to focus on directing.

This is her first feature-length documentary film.

Supported by the Media Patronage Programme of the Hungarian Media Council

THE VIRTUOSO (A virtuóz) 52 min, 2016

A documentary about three generations of ballet dancers studying classical ballet at the Hungarian Dance Academy.

The film first takes a look at each student when they enter the institution at 10 years of age and then again when they leave as professional ballet dancers nine years later.

Glória Halász (Budapest, 1985) studied at the Faculty of Film and Media at Budapest Eötvös Loránd University.

Topics that contemplate where art meets social issues are particularly exciting for her. Her previous films include ‘Iron Curtain’ (2011), ‘Dr. Lala’ (2014) and ‘What a Circus!’ (2016).

Supported by the Media Patronage Programme of the Hungarian Media Counci

The Revolt of Women (Asszonyok lázadása)

Director: Attila Kékesi Cast: Georges Cziffra, Soleilka Cziffra, Georges Cziffra Jr., János Balázs, Sándor Csikós Producer: Miklós Havas Production company: Habana Media Festivals: habanamedia@gmail.com Sales: dudas.viktor@mtva.hu

72 min, 2016

Georges Cziffra was without a doubt one of the greatest piano virtuosos of the 20th century. Born and raised in a poor suburb of Budapest, he taught himself to play the piano at the age of five and, at the age of eight, was the youngest student ever to be admitted to the Academy of Music of Budapest. He was also imprisoned by the communist regime. By taking a walk through a life that was full of twists, this film shows how a prodigy could become one of the greatest virtuosos of the 20th century.

Trešnjevac (Oromhegyes), Serbia, 1992. The women of a village inhabited by Hungarians decide to prevent their husbands from going to war. They organise a resistance and found an “intellectual liberal republic” in the local pub, Zitzer Club.

Attila Kékesi is a Béla Balázs award-winning Hungarian documentary director.

Supported by the Media Patronage Programme of the Hungarian Media Council

Director: István Kovács Producer: Tamás Lajos Co-producer: Gábor Osváth Production company: Szupermodern Stúdió Kft. Festivals, sales: agnes.petrovanszki@filmpositive.hu

István Kovács (1985) was born in a Hungarian minority in former Yugoslavia but spent most of his youth in the southern Hungarian town of Szeged. His graduation movie, ‘The Sound of Concrete’, screened at festivals including at Montreal, Camerimage, Asiana and Cairo.

Supported by the Media Patronage Programme of the Hungarian Media Council

HUNGARIAN FILM MAGAZINE

67

TV Drama

GASTRONOMY OF LOVE (Egy szerelem gasztronómiája)

TRAITORS (Árulók)

89 min, 2017

Director: Péter Fazakas Main cast: Géza Hegedűs D., Dóra Sztarenki, Viktor Klem, Laura Döbrösi, Alexander Kryzhanivskyi, András Balogh, Péter Takátsy, Gusztáv Molnár, Ilona Kassai Producer: Lajos Tamás Production company: Szupermodern Stúdió Kft. Festivals, sales: agnes.petrovanszki@filmpositive.hu

Director: Isti Madarász Main cast: Zoltán Bereczki, Eszter Balla, Gusztáv Molnár, Béla Mészáros, Nóra Diána Takács, Ferenc Borbiczky, Mari Csomós, Miklós Benedek, György Gazsó Producer: Dalma Hidasi Production company: Extreme Film Festivals, sales: hidasi@extremefilm.com A self-centred chef finds out about the importance of being connected to others, of working in a team and of the most vital thing, love.

Isti Madarász (Miskolc, 1976) is a director and writer, known for 'Előbb-utóbb' (2006 - short), 'superDIGITAL' (2008 - short), 'Fekete Múmia átka' (2015- TV movie), 'Hurok' (2016 - feature film) and 'Gastronomy of Love' (2017 - TV movie).

Supported by the Media Patronage Programme of the Hungarian Media Council

60 min, 2017

In the centre Budapest, Sas Street bore the name of Captain Alexei Gusev between 1951 and 1990. According to the plaque at the corner of Gusev Street – removed in 1990 – Gusev was a soldier who “showed solidarity with the Hungarian people in their 1848-1849 battle against tsarist tyranny” and “suffered a martyr’s death”.

A housing estate in provincial Hungary also bore Captain Gusev’s name for several decades.

Executed in Minsk in 1849 for supporting the cause of Hungarian freedom fighters, the Russian artillery captain is mentioned in several films including ‘Torch Flame’ by Gyula Illyés, ‘The Revolution Capital’ by Ferenc Fejtő and ‘Hungarian–Russian Historical Connections’

by Béla Fogarasi.

A government delegation was dispatched to Minsk in 1948 to exhume the heroic Captain Gusev for repatriation to Hungary as part of the centenary celebrations held at the time. However, the government contingent returned to Hungary empty handed after having failed to find any sign of the Russian soldier. The reason being that Captain Gusev had never actually existed.

In turns out that Captain Gusev had been an invention of Béla Illés, the former personal secretary of Béla Kun who later became the editor-in-chief of New Word, the Hungarian-language journal of the “liberating” Soviet Army. An early spin doctor, Illés published his story about the Russian artillery captain’s daring deeds as if they were actual fact, and promoted this fictional myth in the hope of strengthening ties between the two nations.

Péter Fazakas has directed a cinema feature, two TV movies, three radio plays and several TV series episodes.

Supported by the Media Patronage Programme of the Hungarian Media Council

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HUNGARIAN FILM MAGAZINE

Educational Documentary

THE LIFE AND TIME OF JÓZSEF BÉRES (Béres József életútja)

A SOLDIER’S TALE (Katonatörténet)

50 min, 2015

Director: Zsuzsa Katona Producer: Fruzsina Skrabski Production company: Becsengettünk Production Company Festivals, sales: asterfilm@gmail.com

Director: Barna Kabay Producer: Barna Kabay Production company: CinemaStar Kft Festivals, sales: info@cinemastar.hu This documentary recounts the strenuous and difficult life of Dr. József Béres Sr., the inventor of Béres Drops, whose perseverance, diligence, patriotic sentiment and moral strength set an example for us and fortified our belief that we can rise from even the most desperate situations.

Supported by the Media Patronage Programme of the Hungarian Media Council

52 min, 2015

Noemi Katona, a 28-year-old student, found her grandfather’s diary from the Second World War. The journal relates a soldier’s everyday life in the Hungarian army between December 1944 and October 1945. It is about American and French captivity, the reality of war, humiliation, comradeship, faith and the struggle for survival. Noemi started to pass between the Hungarian village of Mihályfa and the German municipality of Bretzenheim, in Bad Kreuznach, to follow in the footsteps of her grandfather’s diary.

Festivals and awards: 2016 - Hungarian Film Week - Official Programme 2016 - AVANCA Film Festival - Official Competition 2016 - Mediawave - Online Competition Programme Supported by the Media Patronage Programme of the Hungarian Media Council

WILD BALATON - ON THE SHORES OF THE ‘HUNGARIAN SEA’ (Vad Balaton) 60 min, 2018 Director: Szabolcs Mosonyi Producer: Erika Bagladi Production company: NatFilm Hungary Kft. Festivals: natfilmhungary@gmail.com Sales: vik.dudas@gmail.com Lake Balaton is the largest lake in Central Europe.

Although during the summer the coast is crowded by holiday homes, the lake and its surroundings offer almost unbelievable natural treasures. The volcanoes, the lake caves, the travertine dams, the sand dunes and the valleys of canyons are parts of the European Geoparks Network, and the huge wetland habitats are unique in the whole of Europe. Ground squirrel and wildcat, peregrine falcon and raven, nesting herons and egrets in huge numbers, edible dormouse taking off for night-time adventures and dancing of asps. The unusual marriage of geology, wildlife and men created this dazzling landscape.

Supported by the Media Patronage Programme of the Hungarian Media Council

HUNGARIAN FILM MAGAZINE

69

Short Documentary

THE HAPPIEST BARRACK (A legvidámabb barakk)

ONCE UPON A TIME THERE WERE TWO BALLERINAS (Volt egyszer két balerina)

16 min, 2017

25 min, 2016

Director: Noémi Varga Producer: Boglárka Emília Gacsályi Festivals, sales: hello@noemivarga.com

Director: Linda Dombrovszky Producer: Linda Dombrovszky Production company: Stúdió 42/B Festivals, sales: dombrovszky@gmail.com

‘The Happiest Barrack’ is an experimental documentary, a chronicle of my maternal grandmother’s life in communist Hungary. It serves as a memento of times past and as a reminder of how socialism colonised the souls of a generation.

Festivals and awards: 2017 - London Short Film Festival – Best Short Documentary 2017 - International Film Festival Rotterdam - British Council Travel Grant 2017 - Friss Hús Budapest International Shortfilm Festival 2017 - goEast Festival - Open Frame Award Nomination 2017 - Open City Documentary Festival

“You have to look for what can be loved… then your soul can be at peace”. This is the confession of the Kolozs twins, who are 95 years old now. The sometime world-famous ballerinas survived most of the historical tragedies of the 20th century.

Festivals and awards: 2016 - São Paulo International Short Film Festival 2016 - Budapest International Documentary Festival 2016 - Verzio International Human Rights Documentary Film Festival

THOSE (Azok) 28 min, 2015 Director: Krisztina Meggyes Producer: Miklós Bosnyák Production company: University of Theatre and Film Arts Budapest Festivals, sales: meggyeskrisztina@gmail.com Vámosszabadi was a peaceful, wealthy village in Hungary until a sudden event disturbed the tranquillity of the settlement: a new refugee camp was established in 2013, just kilometres away from the Hungarian-Slovak border.

The villagers reacted strongly and started to protest, and an activist group decided to do whatever it took to get rid of the migrants. This situation highlighted another hidden conflict.

There are two kinds of people in the village: the mostly older, original villagers and the younger, wealthy newcomers.

When the migrants arrived, the villagers had divided opinions: the older ones accepted their presence and the newcomers became more and more angry. This little village faced a difficulty that the rest of the world would also, just a few months later. Their new situation raised questions regarding tolerance, fear of the unknown and migration.

Festivals and awards: 2015 - Hungarian Film Critics’ Award Best Documentary of the Year 2016 - Astra Film Festival Award for original approach in a docschool film Supported by the Hungarian National Film Fund

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HUNGARIAN FILM MAGAZINE

Short Film

ASSAUT (Asszó)

COLLAPSED LUNG (Légmell)

27 min, 2017

26 min, 2017

Director: Tamás Fekete Cast: Benett Vilmányi, Tamás Szabó Sipos, Sára Mészáros, László Keszég, Csaba Fándly Producers: Gábor Garami, Miklós Bosnyák, Gábor Osváth Production companies: Cinema-Film and the University of Theatre and Film Arts Festivals, sales: info@filmfabriq.hu

Director: Ambrus Fatér Cast: Lajos Ottó, Dr. Ahmed Farhan Producers: Gábor Garami, Miklós Bosnyák, Gábor Osváth Production companies: Cinema-Film and the University of Theatre and Film Arts Festivals, sales: info@filmfabriq.hu

‘Assaut’ is about the relationship between two halfbrothers, both competitive fencers. The younger joins the older brother’s fencing club. This new situation triggers a change in their relationship, as the older brother becomes jealous of his younger brother’s talent. Despite the brotherly love and good relationship between them, this situation evokes past traumas and suppressed feelings for the older sibling.

Festivals and awards: 2017 - Friss Hús Budapest International Shortfilm Festival - Most Promising Director under 30 Award, Best Actor Award (Benett Vilmányi)

András is a doctor in his late 50s. His detailed, lonely life is turned upside down with the arrival of an old Syrian refugee. Without understanding each other’s languages, an unlikely friendship is born.

Festivals and awards: 2017 - Euroshorts International Filmfestival Gdansk Grand Prix Prize 2017 - Friss Hús International Short Film Festival Budapest - Special Mention Supported by the Hungarian National Film Fund

Supported by the Hungarian National Film Fund

COME BY CHANCE (Zabigyerek) 20 min, 2017 Director: Levente Kölcsey Cast: Patrik Grofsits, Rozi Székely, László Felhőffi-Kiss Producer: Garami Gábor Production companies: Cinema-Film and the University of Theatre and Film Arts Festivals, sales: levente.kolcsey@gmail.com Adam is an obedient child. But when his mother asks him to get rid of some newborn puppies, he hesitates.

Festivals and awards: 2018 - 30th Festival Premiers Plans Angers In Competition 2017 - 23rd Sarajevo International Film Festival In Competition 2017 - Jameson Cinefest - In Competition Supported by the Hungarian National Film Fund

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Short Film

EARTHLY PEOPLE (Földiek)

FORTY YEARS (Negyven év)

26 min, 2017

16 min, 2018

Director: Ádám Freund Cast: Zoltán Cservák, Anna Györgyi, Áron Dimény, Vivien Rujder Producers: Gábor Garami, Zoltán Mártonffy, Árpád Szirmai, Andrea Osvárt Production companies: Cinema-Film and the University of Theatre and Film Arts Festivals, sales: gosvath@gmail.com

Director: Anna Gyimesi Cast: Erzsébet Ecsedi, Miklós Székely B., Gerda Pikali Producer: Miklós Bosnyák Production Company: University of Theatre and Film Arts Festivals, sales: orr.krisztina@filmalap.hu, marta.benyei@filmalap.hu, kati.vajda@filmalap.hu

At the age of 12, Ábel has to face the fact that his parents are living in two completely different galaxies of the universe. Now he has to decide which one he belongs to.

Festivals and awards: 2017 - Friss Hús Budapest International Shortfilm Festival - Best Live Action Short 2017 - Chicago International Children's Film Festival 2017 - Student Academy Awards - Nomination Supported by the Hungarian National Film Fund

The film focuses on Ica and Imre, a couple in their midsixties. Ica prepares herself for death, but her husband cannot accept it. After a while, he realises that he is unable to do anything, so resigns to the inevitable.

During the time they have left, Imre tries to make Ica happy, the way he has been for the last forty years, with more or less success.

Festivals and awards: 2018 - Hungarian Film Week Supported by the Hungarian National Film Fund

HIDE AND SEEK (Bújócska) 14 min, 2017 Director: Benő Gábor Baranyi Cast: Mátyás Kabók, Róza Koricsánszki, László Petró, Gergely Balogh, Csaba Balogh, Benjámin Pádár, Konrád Quintus Producers: Zsuzsi Gyurin, Benő Gábor Baranyi Production company: Salamandra Film Festivals, sales: krisztina.orr@filmalap.hu, marta.benyei@filmalap.hu, kati.vajda@filmalap.hu, salamandrafilm@salamandrafilm.com The story takes place in a poor family in Hungary.

The main character is a 7-year-old boy called Matyi.

He loves to play hide and seek, but he knows no bounds. He is constantly hiding somewhere, annoying his parents, and he refuses to come out even when the whole family is looking for him. As he came into the family as the fifth child, his mother had never intended to keep him, and he is just another pain for her to bear.

However, his father is very fond of the boy and he is the only one with sufficient patience for him. One day, the father disappears and the mother is left alone with their undisciplined child.

The film is shot in poor neighbourhoods with amateur actors and is based on a true story.

Supported by the Media Patronage Programme of the Hungarian Media Council

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Short Film

THE INNER SIDE (A belso ´´ oldal)

INVISIBLY (Láthatatlanul)

15 min, 2018

32 min, 2017

Director: Dániel Reich Cast: Renátó Olasz, Eszter Nagy-Kálózy, Zsolt Trill, Emília Szabó Producer: Péter Fülöp Production company: FP Films Kft. Festivals, sales: peterfulop1980@gmail.com

Director: Áron Szentpéteri Cast: Tamás Barkó, Bettina Józsa, Jákob Ladányi, Áron Ócsváry Producers: Áron Szentpéteri, Miklós Bosnyák, András Muhi, András Pires Muhi, Mónika Mécs Production company: Inforg - M&M Film Festivals: marta.benyei@filmalap.hu, kati.vajda@filmalap.hu, orr.krisztina@filmalap.hu Sales: aronszentpeteri@gmail.com

Domi is a 33-year-old autistic man who lives with his parents and never speaks. They try everything to cure him, but with no success. His mother cynically tells the story of their unlucky family; she has lost all hope. Only books are a source of happiness in Domi’s life; he is obsessed with them. His family contacts a new psychologist, Aliz, who soon realises how important books are for Domi. So she starts to write a story, which turns into a book that will change the world around him. We see it come to life and drive the young man towards finding a solution.

Festivals and awards: 2018 – Sudan Independent Film Festival 2018 – Jaipur International Film Festival 2018 – We Care Film Fest Supported by the Media Patronage Programme of the Hungarian Media Council

Two everyday people meet in the dark, that of an invisible exhibition. Throughout the film we follow them as they get closer and further away from each other by crossing blurry boundaries, ones that exist between and within people and are mostly invisible. Not only for the blind.

Festivals and awards: 2017 - Friss Hús Budapest International Shortfilm Festival - Best Live Action Short - In Competition 2017 - Cannes International Film Festival Cinéfondation Section - In Competition 2017 - Sarajevo Film Festival Supported by the Hungarian National Film Fund

THE LAST DAY OF THE EMPIRE (A Birodalom utolsó napja) 13 min, 2017 Directors: Anna Rubi, Júlia Halász Cast: Gábor Bankó, Adrián Barta, Laszló Csank, Zoltán Csere, Edvárd Darabos, Miklós Ihász, Dénes Janoch, Attila Kalmár, Antal Kelle, Sára Meszáros, Zsóka Német, Csaba Sebestyén, Áron Szentpéteri, Péter Török, Mónika Tuza Producers: Lajos Tóth, Andrea Kuczkó, Gábor Rajna, Gábor Sípos Production companies: Csokonai Kulturális és Sportközpont, Laokoon Filmgroup, COLLOC Festivals, sales: rubianna.mail@gmail.com, hjulia.mail@gmail.com

Festivals and awards: 2017 - Friss Hús Budapest International Shortfilm Festival - Daazo Distribution Award 2017 - RÖFI - Audience Award

An empire collapses in the blink of an eye. Oppression disappears, together with the rules that provided safety.

Everything becomes unstable, but in turn possible. This film condenses episodes of a fictitious regime change when, for an exceptional moment, the protagonist is not history itself but the ordinary people and their clumsy acts of self-liberation.

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Short Film

THE LETTERS (Levelek)

NEXT WEDNESDAY (Jövo ´´ szerdán)

18 min, 2017

13 min, 2018

Director: Teréz Irén Koncz Cast: Gergely Posch, Stefánia Varga, Olivér Farkas, Orsolya Moldován, Gábor Topár, Tünde Murányi, Lili Varga, Máté Andrássy Producers: Julianna Ugrin, Judit Romwalter, Gustav Andersson Production company: Éclipse Film Festivals: tez@stellarcircus.com Sales: julianna.ugrin@eclipsefilm.hu

Director: Norbert Molvay Cast: Andrea Waskovics, Barbara Szitás, Zoltán Géczi, Réka Gerlits, Orsolya Kálóczi, Alexa Bakonyi, Ilona Laczkó Producers: Marcell Simó, Norbert Molvay Festivals: marta.benyei@filmalap.hu, kati.vajda@filmalap.hu, orr.krisztina@filmalap.hu Sales: nrmolvay@yahoo.com

Before meeting him in person impatient adoptive parents send secret letters to the teenage orphan Zolika. His emerging courage and hope helps him stand up for himself against his bully Feri, and dream of a better future for himself and his beloved Dori. While the parents prepare for his arrival outside, Zolika has to find the ultimate solution to make sure his beloved Dori gets free from the orphanage.

Festivals and awards: 2017 - AltFF Alternative Film Festival - Best Suspens, Winner 2017 - Genre Celebration Festival - Best Drama Short, Winner 2017 - Indie Suspense Horror Sci-Fi Film Festival Suspense Short, 1st Place

A young girl with a dark secret tries to relieve her heavy heart by taking a walk in the city. She visits places and meets people she would not otherwise wish to in order to find her redemption.

Prior to his studies at the University of Theatre and Film Arts in Budapest, Norbert Molvay completed some minor film courses in directing and screenwriting as well as finishing law school. He also holds an MBA degree.

Despite having specialised in documentary directing at the university, he now works on various fiction film projects as a screenwriter and a director.

Supported by the Media Patronage Programme of the Hungarian Media Council

OPERATION STONE (Van egy határ) 19 min, 2016 Director: Barnabás Tóth Cast: Szabolcs Hajdu, Gábor Baronits, Ildikó Polyák, Pál Götttinger, Tamás Kovács, Mátyás Tóth Producers: Mónika Mécs, Ernő Mesterházy, András Muhi Production companies: M&M Film, Laokoon Filmgroup Festivals: marta.benyei@filmalap.hu, kati.vajda@filmalap.hu, orr.krisztina@filmalap.hu Sales: irma.ascher.imm@gmail.com Based on real-life events, this film is about a man and his son who tried to cross the Iron Curtain in Hungary in 1949.

Festivals and awards: 2017 - Friss Hús Budapest Short Film Festival 2017 - Budapest Short Film Festival - Third Prize Supported by the Media Patronage Programme of the Hungarian Media Council

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Short Film

UCHEBNIK

WELCOME

20 min, 2016

30 min, 2016

Director: Dávid Csicskár Producers: Gábor Ferenczy, András Muhi Production company: Focus Fox Festivals: kati.vajda@filmalap.hu, marta.benyei@filmalap.hu, krisztina.orr@filmalap.hu Sales: rafay.aniko@focusfox.hu

Director: Balázs Dudás Cast: Benett Vilmányi, Éva Kerekes, Csaba Horváth, Tamás Kovács, Veronika Balogh, Zsolt Zayzon, Géza Fazakas, Zoltán Géczi, László Keszég, Béla Ficzere, Dávid Vizi Producer: Gábor Kovács Production companies: Filmpartners and the University of Theatre and Film Arts Festivals: dudasfilm@gmail.com, kati.vajda@filmalap.hu, krisztina.orr@filmalap.hu, marta.benyei@filmalap.hu Sales: dudasfilm@gmail.com

October 1956, the Hungarian Revolution is in full swing and students in a small town are busy burning their Russian grammar books, believing they will never have to study the language again. The revolution is consequently crushed by Soviet troops and the students must present the books to avoid being kicked out of school. A young boy risks life and limb to help his idol, an older boy from the same school, as he tries his utmost to befriend him.

Festivals and awards: 2017 - Montreal World Film Festival - Special Mention 2017 - Alter-Native Film Festival 2017 - Huniwood – Hungarian Film Festival Berlin Supported by the Media Patronage Programme of the Hungarian Media Council

'Welcome' tells a story of a typical 18-year-old called David. After eight years of living in North Serbia, David and his mother move back to Hungary, to David’s father.

A psychological battle soon begins between a man who wants to be a father and a son who refuses his authority.

As the story moves forward, David’s secret (smuggling refugees across the border) is gradually revealed. His mother is the first to find out but is unable to stop her son.

David gets involved in a dangerous mission to rescue a refugee girl and so now his father is also forced to face his son’s secret. David and the girl eventually end up sitting side by side in the back seat of a police car.

Festivals and awards: 2017 – Zurich Film Festival 2018 – Trieste Film Festival Supported by the Hungarian National Film Fund

WORK IN PROGRESS (Átalakítás folyamatban) 18 min, 2018 Director: Cristina Grosan Cast: Katalin Takács, János Bán, Júlia Huzella, Nóra Rainer-Micsinyei, Vilmos Vajdai, Bálint Bán Producer: Dora Nedeczky Production company: Mindwax Festivals, sales: dora@mindwax.eu With a facelift voucher in her hand, Mimi checks into a bizarre plastic surgery clinic by the banks of an isolated lake. Here, a whole new world opens up in front of her: older women and men, as well as animals, await their transformation.

Supported by the Media Patronage Programme of the Hungarian Media Council

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Short Animation

BOND (Kötelék)

GORGON

10 min, 2017

8 min, 2017

Director: Judit Wunder Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Festivals: glaser@mome.hu Sales: krisztina.orr@filmalap.hu

Director: Miklós Felvidéki Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Festivals: glaser@mome.hu Sales: orr.krisztina@filmalap.hu

A woman who lives in complete solitude is trying hard to find love by meeting with a shadow creature that looks like a cat. Meanwhile, new bonds evolve as she gives birth to three kittens. Suddenly the creature disappears and she is left torn between the happiness of motherhood and the suspense of her lover.

A petty thief takes shelter in a rundown apartment building to hide from a policeman who is chasing him.

But neither expects what awaits them inside...

Festivals and awards: 2017 - Annecy International Animated Film Festival Graduation Film - In Competition 2017 - Anifilm - Student Film - In Competition 2017 - Animafest Zagreb - Student Film, in Competition 2017 - Fête de l'anim - Student Film 2017 - Friss Hús Budapest International Shortfilm Festival - Hungarian Shorts - In Competition 2017 - Stuttgart Festival of Animated Film - Young Animation Student Film - In Competition

Festivals and awards: 2017 - KAFF - In Competition 2017 - Cinanima - In Competition 2017 - Animateka - In Competition Supported by the Hungarian National Film Fund

Supported by the Hungarian National Film Fund

HUGO BUMFELDT 12 min, 2016 Director: Éva Katinka Bognár Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Festivals: glaser@mome.hu Sales: orr.krisztina@filmalap.hu Hugo is an alien boy who lives on a small, far-away planet. One day he gets his first pet as a present – a real scuba diver taken from Earth. His excitement about the diver has no limits, and in his childlike selfishness he does not realise that he is playing terrible yet sweet games with an intelligent human being.

Festivals and awards: 2016 - International Short Film Festival Oberhausen International Children’s and Youth Film Competition, Prize of the Children’s Jury 2016 - Montecatini International Short Film Festival Best School Animation Film 2016 - Austin Film Festival - Best Animated Short, Jury Award Supported by the Hungarian National Film Fund

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Short Animation

JUST A FEW WORDS (Néhány szó)

THE NOISE OF LICKING (A nyalintás nesze)

8 min, 2017

9 min, 2015

Director: László Csáki Main cast: Gábor Csőre, Karina Kecskés, Attila Till, Kriszta Argyelán, Noémi Barkóczi, Ágnes Szép Producers: Miklós Kázmér, Zoltán Hidvégi Production company: Umbrella Kreatív Műhely Festivals and sales: kazmer.miklos@umbrella.tv

Director: Nadja Andrasev Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Festivals: zsbanyai@mome.hu Sales: orr.krisztina@filmalap.hu

“… it might not have been a question of right and wrong.

Which is to say that wrong choices can produce right results, and vice versa.” – Haruki Murakami

A woman is watched every day by the neighbour’s cat as she takes care of her exotic plants. Their perverted ritual comes to an end when the cat disappears. Time passes, the plants grow tall and the woman lives her life in content isolation until a peculiar man pays her a visit.

“During the creation and planning of a piece of work I don’t do anything other than visualise the story. Generally everybody does this during reading. Then I try to portray it with techniques that are compatible with it. From this approach I use a lot of different media. I always need a story that I can work with, that amps me up and that I can turn into pictures or get lost in its details.” - László Csáki Festivals and awards: 2018 - ANIMA 2018, 37th Brussels Animation Films Festival - In Competition 2018 - 9th Roanne International Animation Short Film Festival - In Competition 2017 - KAFF 11th Kecskeméti Animation Film Festival, - In Competition

Festivals and awards: 2016 - Cannes Film Festival - Cinéfondation Section, 3rd Prize 2016 - Annecy International Animated Film Festival In Competition 2017 - New Orleans Film Festival - Best Animated Short 2017 - Slamdance Film Festival - In Competition Supported by the Hungarian National Film Fund

Supported by the Media Patronage Programme of the Hungarian Media Council

NOT YET (Még nem) 10 min, 2018 Director: Tímea Varga Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Budapest Festivals: glaser@mome.hu, marta.benyei@filmalap.hu, kati.vajda@filmalap.hu Sales: orr.krisztina@filmalap.hu Everyone goes home from the playhouse. A child waits for her mother who does not show up, so starts looking for her. Over varied locations we see two fates, two lives, which may never cross each other.

Supported by the Hungarian National Film Fund

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Short Animation

SUPERBIA

TAKE ME PLEASE

16 min, 2016

14 min, 2018

Director: Luca Tóth Producer: Péter Benjámin Lukács Production companies: Fakt Visual Lab, Maur Film, Artichoke, Boddah Festivals: danieldeak@daazo.com Sales: shorts@neweuropefilmsales.com

Director: Olivér Hegyi Main cast: Olivér Hegyi, Capucine Muller, Girard Emil, Péter Benjámin Lukács Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Festivals: glaser@mome.hu, marta.benyei@filmalap.hu, kati.vajda@filmalap.hu, orr.krisztina@filmalap.hu

The native people of the surrealistic land of Superbia, where men and women form separate societies, face the changes sparked by the first equal couple in the history of the land.

Festivals and awards: 2016 - Cannes Semaine de la Critique - World Premiere 2016 - Helsinki International Film Festival, Love and Anarchy - Audience Award 2016 - Palm Springs International Short Film Festival Official selection at more than 80 film festivals worldwide

This movie presents a breakup, and everything that follows: boy is hesitant, girl gets bored, boy meets girl’s new boyfriend - which is a bit more shocking than expected.

Boy wants to escape, as he believes his life is over, but then boy meets girl again and they fall in love. But they have to finally admit that the relationship does not really work.

Supported by the Hungarian National Film Fund

Supported by the Media Patronage Programme of the Hungarian Media Council

VOLCANO ISLAND (Vulkánsziget) 9 min, 2017 Director: Anna Lovrity Producer: József Fülöp Production company: Moholy-Nagy University of Art and Design Festivals: glaser@mome.hu Sales: orr.krisztina@filmalap.hu A young, naive female tiger is chased by an old, white male tiger on a magical island. At the beginning of the story the tigress is not aware of her deep connection to the island and to nature. Finally she discovers her great, elementary force.

Supported by the Hungarian National Film Fund

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Short Animation Series A HEAP OF CROSCONTS (Egy kupac kufli) 13 x 7 min, 2016 Director: Kristóf Jurik, Szabolcs Pálfi Producer: Géza M. Tóth Production company: KEDD Animation Studio Festivals: agi@kedd.net Sales: laszlo.santa@kedd.net

Festivals and awards: 2016 - Animateka - Elephant in Competition Programme - In Competition 2016 - Seoul Guro International Kids Film Festival GUKIFF2016 Programme - In Competition 2017 - Hungarian Film Week - Animation - In Competition 2017 - Kecskemét Animation Film Festival - TV Series Programme - In Competition

The animation series ‘A Heap of Crosconts’ is based on András Dániel’s book, 'Egy kupac kufli'. It is aimed for 5-9 year olds, but is just as entertaining for them as it is for much older age groups. There are seven main fairy characters, known as the crosconts. They are not rolls or worms, they are not beans or pebbles. Just crosconts.

They resemble everything and they resemble nothing.

They bounce like a ball, but are not a ball. They are as colourful as a lollipop, but are not edible. There is a little one and there is a big one. There is a chubby one and there is a slim one. They come and go, but nobody knows from where or to where.

Supported by the Media Patronage Programme of the Hungarian Media Council

THE HOPPIES (Hoppi mesék)

URBAN LEGENDS (Városi legendák)

13 x 7 min, 2016

13 x 3 min, 2015

Directors: Ferenc Rofusz, Andrea Miskédi Producers: Ferenc Rofusz, Tamás Salusinszky Production company: The Hoppies Ltd. Festivals, sales: tamas.salusinszky@thehoppies.com

Director: Kati Glaser Producer: Ferenc Mikulás Production company: Kecskemétfilm Ltd. Festivals, sales: marketing@kecskemetfilm.hu

‘The Hoppies’ is a non-violent series for children aged 2 through to 7. Each episode is about a different holiday from around the world. The Hoppies are cute little creatures who live in Hoppiland and have a large calendar showing the international holidays happening on each day of the year. Hoppiland is a multicultural town where you can find Hoppies of all different nationalities.

Our stories about birthdays, Christmas, carnivals, Thanksgiving, Hanukkah and Halloween start here.

Everyone has heard stories that start something like “the girlfriend of the brother of my father told me what happened to the previous owner of the dog of our neighbour’s son” . Almost everyone has a story about family or friends that has become legendary through word of mouth. These tales are mixtures of reality and imagination.

They are about the widest variety of people and things habits, luck, miracles and tragedies.

Festivals and awards: 2015 - Anim!Arte Festival of Brazil – Special Mention Supported by the Media Patronage Programme of the Hungarian Media Council

Festivals and awards: 2015 - Kecskemét Animation Film Festival - TV Series Programme - In Competition 2015 - Animateka - Elephant in Competition Programme - In Competition 2016 - Seoul Guro International Kids Film Festival GUKIFF2016 Programme - In Competition Supported by the Media Patronage Programme of the Hungarian Media Council

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Genesis plakat DinA1 0130.pdf

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30/01/18

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HNFF WORLD SALES

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drama, 120 min, 2018

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HUNGARIAN FILM MAGAZINE

PRESS 18. 02.

12:30 | Cinestar 3

19. 02.

12:00 | CinemaxX 7

23. 02.

12:30 | CinemaxX 7

PREMIERE 18. 02.

21:30 | Zoo Palast 1

20. 02.

17:00 | Cubix 9

24. 02.

13:00 | Zoo Palast 2

EFM LINE-UP HIGHLIGHTS

BUTCHER THE WH RE AND THE ONE-EYED MAN

GÉZA D. HEGEDŰS DORKA GRYLLUS ZSOLT NAGY

KRISZTIÁN KOLOVRATNIK RÉKA TENKI JÁNOS KULKA ADÉL KOVÁTS ZSOLT ANGER KATA DOBÓ and Franciska törőcsik

THE

A FILM BY

FILM by ÉVA GÁRDOS

JÁNOS SZÁSZ

BASED ON VILMOS KONDOR’S NOVEL PIONEER PICTURES PRESENTS WITH THE SUPPORT OF THE HUNGARIAN NATIONAL FILM FUND A FILM BY EVA GARDOS „BUDAPEST NOIR” KRISZTIÁN KOLOVRATNIK RÉKA TENKI JÁNOS KULKA ADÉL KOVÁTS ZSOLT ANGER KATA DOBÓ SZABOLCS THÚRÓCZY AND FRANCISKA TÖRŐCSIK MUSIC BY ATTI PACSAY COSTUME DESIGNER ANDREA FLESCH PRODUCTION DESIGNER PATER SPARROW EDITOR MÁTYÁS FEKETE SOUND ATTILA TŐZSÉR H.A.E.S. DIRECTOR OF PHOTOGRAPHY ELEMÉR RAGÁLYI H.S.C AND MÁRTON RAGÁLYI BASED ON THE NOVEL OF VILMOS KONDOR SCREENPLAY BY ANDRÁS SZEKÉR EXECUTIVE PRODUCER VILMOS KONDOR ASSOCIATE PRODUCERS ELEONÓRA PETÁK ILONA ANTAL PRODUCED BY ILDIKÓ KEMÉNY DIRECTED BY EVA GÁRDOS

GREED, POWER, SEDUCTION. Poster design: Frank Rizzo - Photó: Árpád Csikós

/budapestnoir

©PIONEER 2017

UNIO FILM PRESENTS WITH THE SUPPORT OF HUNGARIAN NATIONAL FILM FUND A JÁNOS SZÁSZ FILM „THE BUTCHER THE WHORE AND THE ONE-EYED-MAN” CAST GÉZA D. HEGEDŰS DORKA GRYLLUS ZSOLT NAGY PÉTER ANDORAI ENIKŐ BÖRCSÖK GYÖNGYVÉR BOGNÁR MIKLÓS B. SZÉKELY PETER WOLF PRODUCTION MANAGER CSABA PÉK SET DECORATION ZOLTÁN HORVÁTH COSTUME DESIGNER JÁNOS BRECKL PRODUCTION DESIGNER GÁBOR VALCZ SOUND GYÖRGY FÉK EDITED BY ANNA KORNIS H.S.E. DIRECTOR OF PHOTOGRAPHY TIBOR MÁTHÉ H.S.C. CO-PRODUCED BY TAMÁS CSUTAK PRODUCED BY ISTVÁN BODZSÁR WRITTEN AND DIRECTED BY JÁNOS SZÁSZ

crime-action, 2017, 126 min

crime, 2017, 105 min

crime, 2017, 95 min

Screening 17.02. | 19:25 | CinemaxX 12

Screening 18.02. | 19:45 | CinemaxX 16

Screening 16.02. | 18:40 | CinemaxX 19

A FILM BY GÁBOR HERENDI

Csaba PINDROCH

Gyôzô

HUJBER

SZABÓ

© VA3 FILM KFT.

Ferenc

SKYFILM PRODUCTION AND CAFÉ FILM PRESENT WITH SUPPORTTHEOF THE HUNGARIAN FILM FUND A FILM BY GÁBOR HERENDI ART ERVIN NAGYCUSTOMANDREA PETRIK TIBPRODUCTIOR GÁSPÁR JÓZSEF GYABRONKA TAMÁS KERESZTES PRODUCERDIRECTORTAMÁS HUTLASSA, GÁBOR HERENDI MUSIC RÓBERT HRUTKA DIRECTION VIKTÓRIA HORVÁTH, ZSOLT NÁNÁSSY ON OF DESIGNER IBOLYA BÁRDOSI MANAGER GÁBOR TÉNI EDITOR ISTVÁN KIRÁLY GYULA MÓZES PHOTOGRAPHY PÉTER SZATMÁRI WRITTEN BY BÁLINT HEGEDŰS, GÁBOR HERENDI DIRECTED BY GÁBOR HERENDI

VA3_50x70_poster_angol.indd 1

Kincsem – Bet on Revenge adventure-romance-history, 2017, 122 min

Aurora Borealis drama-war, 2017, 104 min

17/01/18 12:05

A Kind of America 3 comedy, 2018, 103 min

MEET US IN BERLIN MGB #150

HNFF World Sales | klaudia.androsovits@filmalap.hu | hnffworldsales.com

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MEET US IN BERLIN European Film Market

Stand name: Hungarian National Film Fund Stand number: 150 Telephone: +49 30 206 033 420 Ágnes Havas (CEO) havas.agnes@filmalap.hu Csaba Bereczki (Eurimages representative, International director) csaba.bereczki@filmalap.hu Kati Vajda (Festival manager) kati.vajda@filmalap.hu Csaba Papp (Public relations) papp.csaba@filmalap.hu HNFF WORLD SALES Klaudia Androsovits (Sales manager) klaudia.androsovits@filmalap.hu

Published by

Hungarian National Film Fund (MNF)

Editors-in-chief:

Dániel Deák, Gábor Osváth

Project coordinator:

Veronika Jakab

Editors:

Zsófi Herczeg

Contributors:

Eszter Fazekas, Ádám Harangozó, Zsófi Herczeg, Ádám Hujber, Bence Kránicz, Janka Pozsonyi

Art director:

Zoltán Bukovics

Photographer:

Gábor Valuska

Proofreader:

Laura Brown

The Hungarian Film Magazine is published by the Hungarian National Film Fund.

Published in Hungary in February 2018. All rights reserved. Reproduction in whole or in part is forbidden save with the written permission of the publishers.

Cover: Réka Tenki, photo by: Krisztina Csatáry www.issuu.com/hungarianfilm www.filmfund.hu www.facebook.com/hungarian.film.fund

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HUNGARIAN FILM MAGAZINE

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