This chapter contains the synopses of films made in 2003 and nominated for the 35th Hungarian Film Week. Films which were nominated this year but were produced in 2004 will be published in the next yearbook. Most of the films were made in 2003, but there are some which were produced in 2002 or 2001. Our thanks go to Krisztina Hermann and János Vészi for their help in collecting the films. We also wish to thank all those who have made it possible for us to include films which were neither selected in the competition, nor could be shown in the information screenings this year. In order to provide more information we have done our best to collect materials from other festivals (such as Mediawave, Sziget Festival and other, smaller events).

‘6 Sundays in Hungary’
director: György Pálos, reporter: György Kerényi, Ági Kiss, Péter Kóczián, Anikó Molnár, Ágnes Nagy, Csilla Orosz, Ágnes Sós, Márton Szirmai, camera: Sándor Cs. Nagy, Gergely Pálos, Gábor Váradi, sound: Gábor Bányay, János Kőporosy, music: Zoltán Végső, executive producer: Csilla Győri, producer: György Czabán, cast: László Surányi, Ágnes Maczó, József Torgyán, Iván Pető, Gábor Kuncze
Közgáz Visual Brigade, 1994–2002, video, colour, 71’
Three elections in Hungary, won by the Hungarian Socialist Party and by the Alliance of Free Democrats (Szabad Demokraták Szövetsége) in 1994; by the Hungarian Civic Party (Fidesz - Magyar Polgári Párt) in 1998, and by the Socialists and the Alliance of Free Democrats in 2002. In the film common people and party leaders express their opinions about politics.

‘Twentieth Century Requiem - Károly Szigeti choreographer, director (1930–1986)’
director, screenplay: Dr Gabriella Kiss, Tibor Galambos, camera: János Nagy Attila, József Lőrincz, Sándor Moóri, Béla Körtési, editor: Zoltán Varga, sound: Imre Policza, producer: Tibor Galambos, cast: Ferenc Novák, Anna Poór, Péter Korniss, Tibor Galambos, Kati Berek
Foundation for Hungarian Dance Art, 2003, video, black and white+colour, 50’
Károly Szigeti trained as an actor before starting his career as a folk dancer. He was a member of the State Folk Ensemble but he also worked in the ethnographic department of the Institute of Popular Arts. He was involved in film and theatrical art as well: he worked as a choreographer in the National Theater, directed in other theaters as well and contributed to Miklós Jancsó’s films. He was the artistic director of the Kecskemét Theater.

AHOL A BIRKÁK TÉRDET HAJTANAK – Zsákai Piroska naplója Hatvantól Kárpátaljáig
‘Where the Sheep Bend their Knees… - Piroska Zsákai’s Diary from Hatvan to the Carpathians’
director: Zsolt Balogh, camera: Márton Zalányi, editor: Miklós Antal, executive producer: Miklós Szederkényi, producer: Sándor Buglya, cast: Piroska Zsákai
Dunatáj Foundation, 2002, video, black and white+colour, 60’
Piroska Zsákai’s grandparents fled to Hungary from the Carpathians and never saw their homeland again. In 1950 her religious father was imprisoned in the Recsk detention camp and her family was sent to internal exile in the Hungarian puszta, in Hortobágy. After their liberation they lived in such miserable conditions that the little girl wanted to return to the prison camp. She was trained as a Russian teacher and later became headmistress of a school: she would have been ill-advised to go to church. After raising her children and retiring she became a helper of the Franciscan order. She settled in Técső, in the land of her grandparents.

‘Out-Of-The-Way Place’
director, editor: Zsolt Marcell Tóth, camera: Zsolt Marcell Tóth, Attila Kovács, szakértő: Gábor Babcsán, sound: Attila Mátyás, László Zalányi, executive producer: Bence Varga-Kittner, narrator: Pál Sztarenki, music: Baeza Patricio, Sándor Szabó, cast: Gábor Babcsán, Attila Kovács, Oszkár Nádasdi
Symmetry Production, video, colour, 52’
In 2003 the Patagonian Expedition went rock climbing in Patagonia. Rocks are the hardest surface to negotiate, and the hard, unpredictable weather increased the expedition’s difficultiesound: in the end they only got the two thirds of the way up the target cliff. The film not only shows the beauty of the landscape and the hardship of the human effort but also introduces us to the philosophy of rock climbing.

‘Akác Street’
director: Gábor Varga, camera: Károly Markert, editor: Béla Kovács, Péter Politzer, sound: Sándor Faludi, Rudolf Várhegyi, producer: Ágota Varga, András Muhi
Inforg Studio, Filmira, 2001–2003, video, colour, 55’
Flóri was raised in Hidas, a small Hungarian village, in Akác street. She has two daughters by her first partner. All the inhabitants of the Roma settlement are her relatives. People survive here from one day to the other. If they have money, they entertain each other, which leads inevitably to conflicts. With her second partner, Gábor, she moved to another village, Mánfa. Four years ago her father left her mother, who has been mourning him ever since. Her younger brother moves to their house in Mánfa with his partner. According to her father, it would be best if all the children went far away from Akác street.

‘When Hungarians Went Skiing in Finland’
director: Mária Sós, screenplay: Júlia Csantavéri, Osmo A. Wilkuna, expert: dr. Péter Sipos, Gábor Richly, Tenho Takalo, camera: Osmo A. Wilkuna, editor: Ágnes Ostoros, executive producer: Gábor Mátl, producer: Áron Sipos, collaborator: Ilona Kassai, Erzsi Pásztor, György Bátonyi, Pál Szalóczy, Endre Koncsol, cast: László Boros Jr., László Boros, Imre Kiss, Lajos Szűcs, Gábor Richly, Tenho Takalo
Focus Film, video, black and white+colour, Hungarian, Finnish, English language, Hungarian commentary added, 52’
In November 1939 the Soviet Union attacked Finland. Hungary was an ally of Germany, so
the government could not officially send troops to help Finland, but it did assist volunteers to travel. Of the 25 thousand applicants, 325 went in the first batch. The second group only got as far as London; the third was broken up, because the war was over. The grandson of one of the volunteers, László Boros senior, decided to follow in his grandfather’s footsteps. The film is a memorial to the volunteers who fought in Finland.

director: Csaba Szekeres, camera: Zoltán Lovasi, editor: Tim Alone, sound: Chin-yu Liun, music: Glenn Miller, Jenő Orlay, executive producer: Miklós Szederkényi, producer: Sándor Buglya, cast: István S.J. Jaschkó, József S. J. Maron, József Szakos
Dunatáj Foundation, 2002, video, colour, 90’
The film is a portrait of three Hungarian priests living in Taiwan. József Maron (1908) went to China in 1936, and after the communist takeover he escaped to Taiwan from the persecution of the communists. The oldest Hungarian missionary, he has performed a number of rolesound: he taught in a girls’ school, he played trumpet in an orchestra and worked as a book-binder. He is a Chinese citizen, and has not been back to Hungary since 1936. István Joskó (1910) went to China with Maron, and followed him to Taiwan in 1995. He established several institutions to raise disabled children. József Szakos (1956), a linguist, came to Taiwan in 1986 as a member of a Verbita order.

APÁM TÁNCA - Könczei Ádám emléke
‘My Father’s Dance’ - In Memoriam Ádám Könczei
director: Attila Seprődi Kiss, screenplay: Árpád Könczei, camera: Zoltán Dénes, editor: Miklós Antal, sound: Lóránd Korom, executive producer: Miklós Szederkényi, collaborator: András Hatházi, producer: Sándor Buglya, cast: Könczeiné Tolna Éva, Antal Árpád, Lázok János, Kallós Zoltán, Léka Géza
Dunatáj Foundation, 2003, video, black and white+colour, 47’
In this film colleagues, relatives and friends evoke the memory of Ádám Könczei, a Transsylvanian teacher, ethnographer and editor. As a young man he trained as a teacher of Hungarian literature, and he regarded teaching as his profession even after he was dismissed from his post. He consistently fought for the complete equality of Hungarians in every field. He had four children, and they lived in great poverty: he acquired his first typewriter only when he was 52. During his tragically short life his courage was a source of consolation to many people.

‘Calvary in Arad’
director: Zsigmond Erdős, Ágnes Maksay, editor: Ágnes Maksay, reporter: Erika Halmágyi, camera, editor: Zsigmond Erdős, cast: Zoltán Banner, Mihály Matekovics, János Ujj, Levente Bognár
Video–Pontes Studio, 2003, video, colour, 38’
The idea of commemorating the martyrs of Arad with a statue was first raised in 1867. Adolf Huszar completed his plan for the memorial in 1883 but he died suddenly in 1985. Then the twenty-five-year-old György Zala was commissioned to complete the statue, which was inaugurated in 1890. In 1925 the Romanian authorities destroyed the memorial together with other memorials belonging to the Hungarian heritage. After the revolution in 1989 the idea of restoring the memorial emerged immediately but it was only 1999 that this statue was returned from the army to the Minorite church. The Romanian administration constantly hinder the erection of the statue.

ARANYKALYIBA - Egy év Karácsony Emilkével a gyimesi Hidegségben
Golden Hut – a Year with Emilke Karácsony in the Gyimes Hidegség
director: Dezső Zsigmond, camera: Arthúr Bálint, editor: Gabriella Koncz, sound: Vince Kapcsos, executive producer: Miklós Szederkényi, producer: Sándor Buglya, cast: Emil Karácsony, his family and the inhabitants of the Gyimes Hidegség.
Dunatáj Foundation, 2002–2003, video, colour, 60’
Every summer the young teenager Emil goes to the snow covered mountains with the flock, and comes back only at the beginning of the winter. His only companion is an older boy living on the neighbouring hill. He has to decide everything on his own, and though he is still a child his responsibility matures him as an adult.

‘Arriba el Sur’
director: Gabriel Szollosy, camera: István Donner, producer: Anna Jancsó, cast: Sergio Barceló, Waldemar Silva, Comparsa „C 1080”, Familia Rudisch, José Artigas
Librecine, 2002, Spanish language, Hungarian subtitles, video, colour, 38’
The Uruguayan Sergio Barcelo lives in Vienna and popularizes candombe, the dance and music of his native town Montevideo. Candombe has its roots in the nostalgia of its first cultivators, the black slaves who sang and played the drums, crying for Africa. Music expresses the pain they feel because they were kidnapped and the families were broken up. Barcelo is descended from a blond, blue-eyed manarrator: his grandfather was the only blue-eyed black man he ever knew. Sergio thinks a lot about his family, he wants to go back to Montevideo: he only wants to collect a little money in Europe.

„ÁG, LOMB, GYÖKÉR NÉLKÜL KIÁLTOK...” - Podolini Németh Kálmán szobrászművész emlékére
“I’m Crying Without Twigs, Leaves, Roots…” - In memoriam of Podolin sculptor Kálmán Németh
director: Éva Bicskei, story editor: László Csiki, camera: Endre Schwindl, editor: Ágnes Mógor, sound: József Kardos, music: Kamilla Dévai Nagy, producer: László Kántor, Zsuzsa Kulcsár, narrator: Balázs Dévai, collaborator: Zoltán Sellei, József Lakatos, Kamilla Dévai Nagy, students of the Krónikásének Music School, students of the Kálmán Németh Art School, cast: Dr. Dezső Csáder, Kamilla Dévai Nagy, Dr Tamás Grynaeus, Dr Erzsébet Szabó, Mrs T. Hartmann
New Budapest Film Studio, 2003, video, colour, 60’
Kálmán Németh was born in Podolin, which now belongs to Slovakia. From 1926 he was a student of the School of Fine Arts. He studied sculpture with Ferenc Sidló. In 1947 he became a restorer at the Museum of Fine Arts. He discovered and restored several medieval works of art. He founded a school of wood carving. He lived in Fót where he created a bust of Vörösmarty and the furniture for a wine-press house. He left his house, full of his own work, to the local community but there is no money to maintain the museum. From the recollections of his friends and acquaintances it is clear that he and his generation were seriously traumatized by the Trianon treaty, but they were never chauvinists or racists.

„ÁLDOM A NYÜZSGŐ RÓMÁT” - Itáliai utazás Hubay Miklóssal
‘Bless Busy Rome - Travels in Italy with Miklós Hubay’
director, editing, reporter: Zoltán Czigány, camera: Ákos Bagi, editor: István Juhász, executive producer: Zoltán Bálint Szabó, cast: Hubay Miklós, Michelle Campanolo Bouvier, Federico Rossi, Marco Spiganti, Paolo Viscione
MTV, 2003, video, colour, Hungarian, French, Italian language, Hungarian subtitles, 55’
Miklós Hubay, playwright and translator, feels that he should always have lived in Italy. In Hungary people don’t like each other and they show all the of signs of it. The Italians are just the opposite. Hubay introduces his own Italy to the audience. In Venice he shows the work of the Société Européenne de la Culture, in Friuli he presents the local dialect in which Pasolini wrote his early poems. Hubay lived for 15 years in Florence and taught Hungarian literature at the university. His play “Is Nero Dead?” was a great success in 1972.

‘Flood Area’
director: Csaba Szekeres, camera: Zoltán Lovasi, Csaba Szekeres, sound: László Zalányi, Frigyes Wahl, executive producer: Miklós Szederkényi, producer: Sándor Buglya
Dunatáj Foundation, video, colour, 94’
Csilla comes from Sáromberke in Romania. She was 16 when she came to work in Hungary and she became pregnant. Otto was a premature, underweight baby; he had to stay in hospital until he was two and a half. During this time Csilla worked in Siófok and started to build a house in her native village together with her partner Attila. Ottó was raised by his grandparents. The little boy was still not toilet-trained when he was old enough to go to kindergarten, he could not speak understandably and he was hyperactive. He was not accepted in the kindergarten. In Hungary it was legally not possible to place him in a special kindergarten. Finally the small boy was taken in by the “Give a Hand” kindergarten in Marosvásárhely. Ottó now lives in the social children’s home in Gernyeszeg, where he can stay until the age of fourteen. Csilla works in Hungary and the house is still under contruction.

‘Ferenc Balogh – István Oláh’
(Párhuzamos életrajzok Series)
director: Bernát László Czető, camera: Tóth Sándor, editor: Júlia Kende, sound: Gábor Rozgonyi, Ferenc Gerendai, executive producer: János Mándi, producer: György Fülöp, cast: Ferenc Balogh, István Oláh
Centrál Film Studio, 2003, video, black and white+colour, 50’
The actor and singer Ferenc Balogh lives a seemingly balanced life, but in fact his intimate life was full of tragedy: he and his wife were genetically incompatible. In spite of this they had five children, who died one after the other. The husband started to drink, his wife took refuge in religion. Their healthy son Viktor was born after their conversion. István Oláh as a young environmental engineer fell in love with the Chechen-Ingushetian republic. During the first Chechen-Russian war he served as an expert in the Hungarian Oecumenical aid-program. He was taken prisoner together with his companion Gábor. They were kept underground, chained together, with hardly anything to eat or drink, they were beaten and they knew all the time that their lives were in danger. After he was set free he couldn’t fit back in. He continues his life, but most things have lost their meaning for him. He feels that he was purified in the dirt of captivity.

BARCIKA – Szögesdrótok mögött a Sajó völgyében
Barcika - Behind the Barbed Wire in the Sajó Valley
director: Miklós Szitha, Tibor Duljánszky, expert: Miklós Görbedi, camera: Mihály Török, editor: Tibor Duljánszky
Club of Amateur Film Makers in Nyír, 1992–1996, video, colour+ black and white, 52’
The forced labour camp operated between 1951 and 1953 in Kazincbarcika. It was filled with prisoners of war returning from the Soviet Union, who kept the numbers up to 1000 or 1100. Here Germans living in Hungary, former members of the Gendarmerie or the police and high ranking civil servants were imprisoned. The outside world and even their own families didn’t know about them and they were completely at the mercy of the AVH (the secret police). There were similar camps in Kecskemét, Recsk, Tiszalök, Kunmadaras, Taszár and Sármellék. Based on the recollections of former prisoners and their relatives, this film commemorates the victims of these camps.

’Attila Bartis’
(Márai-díjasok Series)
director: Péter Havas, editing, reporter: Gyula Darab, camera: Virgil Szilágyi, editor: Enikő Sárvári, sound: András Vámosi, executive producer: István Nedeczky, producer: György Illés, cast: Attila Bartis, Géza Morcsányi, István Kemény, László András, Attila Szűcs
Society of Hungarian Directors of Photography (HSC), 2002, video, black and white+colour, 50’
A portrait of Attila Bartis, writer and photographer. He has lived in Budapest since 1984. In that year his father was deprived of his Romanian citizenship. He lost his mother and his homeland within one year. It took years for him to get used to Hungary, which has appeared in his writings only since 2000. He is not interested in politics. He presents his values by saying and writing exactly what he thinks, but he doesn’t force his views on anybody.

‘The World of Géza Bereményi and Károly Eperjes’
(2 ember Series)
director: András Sólyom, editing, reporter: Miklós Vámos, camera: Péter Jordán, Gábor Labáth, Gyula Marton, László Reich, sound: Lajos Csernóczky, (mt ?): Vilmos Csillag, editor: Lajos Halász, producer: Mónika Szalavári, András Szolnoki, cast: Géza Bereményi, Károly Eperjes, Miklós Vámos
MTV, 2003, video, colour, 50’
In this dual portrait Miklós Vámos would like to find out how people behave in their own homes. He presents a portrait on Bereményi and Eperjes; he shows their permanent and temporary homes. There is a kind of sibling relationship between writer-director and the actor.

‘The School of the Empire - The German Imperial School in Budapest, 1908–1944’
director, producer: Gábor Zsigmond Papp, editor: Katalin Hegyes, camera: Balázs Dobóczi, editor: Tamás Breitner, sound: Csaba Boros, János Hajdú, music: Ferenc Darvas, cast: Arisztid Atkáry, Ernst Kleinschmidt, Beate Fütterer, Mária Fehérvári, Éva Székely
Bologna Film, 2003, video, black and white+colour, 57’
The German Imperial School was established in 1908 for the children of German, Austrian and Czech diplomats and businessmen living in Budapest. After the dissolution of the Monarchy Hungarian children were admitted too. Teaching was in German and reached very high standards. Many of the teachers represented the democratic spirit of the Weimar Republic. In 1939 religious education for pupils belonging to the Jewish religion was stopped. In 1940 Jews had to leave the school, but those who converted to Christianity could stay. In Spring 1944 director Lange made it possible for the Jewish students to take their final exam earlier than usual. After the Arrow Cross takeover the school hid its Jewish pupils. In Autumn 1944, as the front approached, the school was closed. Its one-time students learnt in this school that all people are equal.

’Béla Bartók: Cantata Profana’
director: Zoltán Czigány, camera: Zsolt Tóth, Csilla Czétényi, Illés Tréfás, editor: Bence Bartos, sound: Gábor Bányay, executive producer: László Kovács, performer: National Choir (choir master: Mátyás Antal), National Philharmonic Orchestra, (choir master: Zsolt Hamar), solists: András Molnár, Viktor Massányi, cast: Béla Bartók (archive)
Duna Television, 2002, video, black and white+colour, 24’
A concert film. At the beginning of the film we hear Béla Bartók’s translation and performance of the Romanian Kolinda, which was the starting point of the Cantata Profana. Afterwards we hear the piece itself.

‘A Sculptor of the Happy – András Kós’
director, camera: Sándor Mohi, reporter: Vilmos Tánczos, sound: Vince Kapcsos, János Gonda, Balázs Balogh, music: Jenő Lisztes, executive producer: Miklós Szederkényi, producer: Sándor Buglya, cast: András Kós
Dunatáj Foundation, 2000–2002, video, colour, 49’
András Kós (1914) is a sculptor and teacher. The second son of the architect Károly Kós speaks about his childhood, his parents, and his career in Varjúvár and in his studio. He has always returned to wood because he has been bound to this natural material since his childhood, which he spent in a forest. He shows his favourite sculptures, a model of Gábor Bethlen’s monument, Kata Bethlen, the orphan, János Apáczai Csere, Miklós Tótfalusi Kis – the protestant saints. He taught between 1940 and 1980, and he became head of his department only in the last three years.

‘Brasov Railway Station’
director: András Péterffy, camera: Péter Dömötör, Attila Magyar n., Ernő Nagy, Péter Szalay, Gábor Váradi, editor: Péte Szalay, sound: János Gonda, Vince Kapcsos, cast: János Zerkula, Regina Fikó, Bacioiu Wind Players, Szászcsávási Orchestra, Gábor Szita, Bercel Nagy, Csaba Sófalvi Kiss, Félix Benke, Gráci Benke, Péter Ertl, Gabriella Rusorán, Attila Rácz, Andrea Skaliczky, Ordasok Dance Ensemble
Euromozaik, no year, video, colour, 40’
This is a film version of the dance performance “Brasov Railway Station”, shown in a railway station in Budapest. “Brasov Railway Station” was an “ethnographic museum” of multinational Romania where ethnographers, musicians and collectors could meet the everyday folklore. In the performance Hungarians, Romanians, Saxonians, people of Havas, Jews, Huculs, Armenians, Gypsies and Swabians danced together. In spite of political divisions, the people living in this region are bound together by their culture and history.

Wheat Grain
director, reporter: László Drimmer, camera: Norbert Berta, Csaba Tóth, editor: Csaba Tóth, music: Péter Király, John Boyle, cast: Dr Mária Asbóth, Dr Balázs Barsi OFM, Mrs Horváth, Dr Gábor Kiss, Dr Lazáry THOTH, 2003, video, colour, 90’
Örs and Helga’s first embryo of died at the age of ten weeks. The young couple wanted to bury it and after a long struggle they succeeded. This film, starting out from their case, discusses the question of whether an embryo can be regarded as a person.

János Géczi’s Church of Poems
director: András Péterffy, camera: Gábor Váradi, sound: János Gonda, cast: János Géczi
Euromozaik Video Communication Foundation, 2002, video, colour, 42’
János Géczi covered a chapel with copies of the mediations of a monk in St Gallen. So the church was turned into something like a mosque, whose walls are covered with quotations from the Koran. Decollage and concrete poetry constitute visual and sensual communication at the same time; both intellect and intuition are needed simultenously for its reception.

‘Gipsy Dance’
director: Kálmán Hollai, camera: Lajos Urbanics, editor: Gabi Kaslik, executive producer: Tamás Villányi, producer: Jenő Hábermann, collaborator: “Baba” Preserving Tradition Dance Group, cast: András Csuki, Ödön Rácz, Józsi Orsós, Renáta Nagy, József Arató
Film Art Studio, video, black and white+colour, Hungarian language, English subtitles, 45’
For the second time, the Hungarian Foundation for National and Ethnic Minorities’s awarded scholarships to students of Roma origin in higher education. This was an opportunity for the young people to speak about their origins and also about what they would like to achieve in the next ten years.

‘Gypsy Alphabet 1-2’
director: Ágnes Tölgyesi, camera: Sándor Mohi, Adrienn Horváth, editor: Andrea Tombor, sound: László Kósa, executive producer: Sára Szentmiklósi, music: Ágnes Szigeti, producer: Dr Sándor Buglya, cast: Anna Magdolna Nagy, Péter Lázár, Zsolt Batári, Mrs Benczúr Zombori Gizella, Ilona Kerezsi
Dunatáj Foundation, 2001–2002, video, colour, 48+50’
The Nyirtelek College was founded when the teachers in the school realized that the poor children (not only Roma) were lagging behind, because they had grown up in a less stimulating environment. Peter Lázár, an expert on Roma pedagogy, constructed a very reasonable program for the developing the children. The basis of the program is that the children and the parents are regarded as persons. The first step is to help the child to realize the values of his or her own environment. On this basis it is possible to build up a school class community where each child has his own place. A link must be created between the family and the school because no method can work properly without the support of the parents. The children can only be helped to catch up if they are separated, but the main purpose is to integrate them.

CIGÁNYFÚRÓ – Andrási úr álma egy iskoláról
‘Gipsy Dril - Mr Andrási’s Dream About a School’
director: Kálmán Hollai, camera: Lajos Urbanics, collaborator: József Illés, Sándor Fazekas, Ernő Mihályi, Sándor Börcs, cast: Lajos Andrási and his family
Borbála Co., 2001, video, colour, 50’
Roma children, Lajos Andrási and his brothers and sisters were sent to boarding school by their parents and they all became hard working, diligent people. Lajos was trained as a plumber, he married a Hungarian girl, they have three children. He began by working in a factory and later started his own company. He is content with his life, and he plans to found an educational centre for Roma youth where children can learn a profession and get also practical training.

‘Film of Csalóka’
director: Károly Szabó, camera: Arthur Bálint, editor: Judit Kollányi, sound: Vince Kapcsos, executive producer: Miklós Szederkényi, cast: Árpád Borsodi, Tibor Rózsa, Zsolt Kelemen (Csalóka Ensemble)
Dunatáj Foundation, 2002, video, colour, 47’
The members of the Csalóka ensemble in Voivodina have been playing music together since their high school years. Their singer Zsuzsa is from Tatabánya. They worked for three years at the theatre of Székelyudvarhely, but they had to leave for bureaucratic reasons. The film was made on the occasion of the dance camp in Felsősófalva in 2002.

‘Still Life’
director, editor: Zsuzsanna Antala, camera: Zsolt Szél, editor: Katalin Csányi, executive producer: Zoltán Pigniczki, cast: Anna Gonda, László Halmos, Mihály Czeglédi, Imre Homoki
MTV, 2003, video, colour, 25’
Anna Gonda was admitted to the school of Fine Arts at the age of fourteen on the basis of her drawings of Miklós Horthy. The war intervened and Anna became a nursery school teacher but she never stopped painting. She prefers to paint still lifes and Bibilical scenes. She remembers with warm words her Slovakian grandmother, from who she learned to love nature and life.

CSILLAGAINK – A kisgyerekek tehetséggondozása
‘Our Stars - The Personal Development of Talented Children’
director: Ágnes Tölgyesi, expert: Dr Éva Gyarmathy, camera: Sándor Mohi, editor: Andrea Tombor, sound: László Kósa, executive producer: Sára Szentmiklósi, music: Ágnes Szigeti, producer: Dr Sándor Buglya, cast: Zsuzsanna Noszkay, Mónika Somogyi, Mária Herskovits, Dr László Balogh, Dr Endre Czeizel
Dunatáj Foundation, 2001–2002, video, colour, 60’
In Hungary the school system is based more on the transfer of knowledge than on the development of skills. Up to the fourth grade of primary school, there is a strong correlation between creativity and skills, but later the two separate because of the enormous amount of material to be learnt. Some psychologists claim that the general bad mood in Hungary has its origins in the children’s lack of confidence. Society expects more from children than they are capable of, and therefore generations of frustrated people grow up. The most important thing would be to help the most talented children through a personalised way of development. But this is completely neglected in the Hungarian school system.

‘Under the Hills of Csitár…’
director, camera: Sándor Kurucz, story editor: Balázs Fakan, expert: Margit Méry, editor: Judit Kollányi, sound: Balázs Balogh, executive producer: Miklós Szederkényi, producer: Sándor Buglya, cast: György Urbán, Zoltán Gyurcsó, László Hrassó, and the inhabitants of Vicsapáti, Nyitraegerszeg, Béd and Menyhe
Dunatáj Foundation, 2000, video, colour+black and white, 40’
In Zoboralja, at the foot of the Csitár hills, there were five Hungarian villages, where 80-90 % of the population was Hungarian according to the first Czechoslovak census. Those who did not declare themselves Slovaks were deported in 1945. Since then there has been no Hungarian school in the villages, the Hungarian language has disappeared. Today 98% of the population is Slovakian, and the villages are linguistically isolated. The old people still conserve their “Hungarianness” but as they see the younger generation are not interested in the nationality question.

‘Mihály Dávid, the Weather Teller‘
director, camera: Mihály Miló, editor: László Csordás, executive producer: Ferenc Boronkay, cast: Mihály Dávid
Town Television Nyíregyháza, 2002–2003, video, black and white+colour, 40’
Mihály Dávid used to work for the water company. After the great drought and flood in 1970 he started to think about why meteorologists are unable to prepare long term weather predictions, and realized that planetary factors are not taken into consideration. He invented and patented a method, but the patent was withdrawn, as he thinks, under pressure from the meteorologists’ lobby. After thirty years of observations, he is convinced that his method works. He doesn’t intend to leave his scientific achievements to posterity: if he has been condemned as a charlatan then they will just have to rediscover his method.

director, producer: András Muhi, editing, reporter: Klára Muhi, camera: Sándor Csukás, editor: Thomas Ernst, sound: Rudolf Várhegyi, cast: László Dés, Péter Esterházy, Péter Geszti, Péter Eötvös, Péter Gothár, László Gőz, Zoltán Rácz, Ferenc Snétberger
Inforg Studio, 2003, video, colour, 65’
László Dés (1954) was ridiculed when he applied for admission to the department of composition of the Academy of Music. His revenge is the fact that most of his songs have became hits, constantly played on the radio in Hungary. He has composed musicals, music for documentaries and feature films and he has improvised around texts by Peter Esterházy. In this portrait film we see the openness and the many sides of Dés’s character, as well as his ironic problem-solving attitude to the world. To his great joy his children are also musicians.

director, screenplay, reporter: Lehel Oláh, camera: Balázs Dobóczi, editor: Péter Politzer, sound: Tamás Zányi, executive producer: Pál Gulya, producer: András Muhi, cast: János Gémes (Dixi), János Xantus, András Wahorn, Gábor Demszky, József Dénes (Dönci), István ef Zámbó, Péter Sziámi Müller
Inforg Studio, 2003, video, black and white, 54’
Lehel Oláh made a portrait film of “Dixi the situationist”, which turned into a commemoration when the protagonist died. Artists were fascinated by the way this free and extrordinary man liberated the flow of his own associations and poetic improvisations. In a state of drunkenness, he was an inspiration to many. He acted in his friends’ films, and his texts were used in performances and song lyrics. He lived 59 years.

EGY ÉLET TEREPASZTALA – Vendégségben Bíró Mátyás naiv művésznél
‘The Ground Table of a Life Visiting Mátyás Bíró, naive artist’
director: Andrea Makó, editing: Géza Banner, camera: János Jernye, editor: Judit Ecseri, executive producer: József Majoros, producer: Györgyi Kulcsár
Unio Civilis Képműhely, 2003, video, colour, 17’
A portrait film about a man from Székelyabod, who only finished primary school but who made a series of statues representing Hungarian history from the conquest of the Carpathian Basin until today, including elements of Romanian history as well. At the centre of his thinking lie his faith and his village.

EGYMÁST OLVASVA - Magyar regénytükör az ezredfordulón – Szilágyi, Závada, Jókai Anna, Esterházy, Nádas
‘Reading Each Other - Mirror of Hungarian novels at the turn of the millennium – Szilágyi, Závada, Anna Jókai, Esterházy, Nádas’
director, screenplay: Attila Mispál, expert, reporter: Tamás Tarján, editor: Katalin Mészáros, camera: Gábor Szepesi, editor: Ádám Prim, sound: Tibor Belovári, Zsolt Fartaczuk, cast: István Szilágyi, Pál Závada, Anna Jókai, Péter Esterházy, Péter Nádas
Duna Televison, 2002, video, colour, 40’
The liveliest area of contemporary Hungarian literature is the field of epics.
This film shows how books “read each other”, how the authors influence each other. The book is a metaphor of the worldirector: a well-defined enclosed space. One characteristic of contemporary literature is the tendency to put the birth of the work itself into the creation. The “book within the book” condition refers to this closednessound: nothing else existsound: this is the world, which has become a book.…..

‘One Place in the Word - The Kálnokys’ inheritance’
director, camera: Gábor Szepesi, expert: Kinga Tüdős S., editor: Judit Kollányi, sound: Vince Kapcsos, music: Musica Historica Ensemble, executive producer: Miklós Szederkényi, producer: Sándor Buglya, cast: Farkas Kálnoky, Tibor Kálnoky and his family
Dunatáj Foundation, 2003, video, colour, 50’
It was only in 1987 that Tibor Kálnoky, heir of the noble Transsylvanian Kálnoky family, went with his father Farkas to visit the ancient family possessions at Kőrőspatak. The young man, whose mother tongue is German, was so deeply moved by the visit that he went to live there. He reclaimed the family property from the Romanian government, renovated the ruined castle and opened a hotel. The Kálnokys had lived in the Háromszék region since 1252. They were forced to leave Transsylvania in 1939 and Hungary in 1944. Tibor courts the ladies in Hungarian and he hopes that his children will carry on with the family legacy.

‘A Slice of Bread - Women in service in Baranya’
director: Katalin Bakos, editor: Rózsa Gellér, camera: Péter Vékás, editor: Katalin Kabdebó, music: Ágnes Szigeti, music: Attila Seprődi Kiss, Edit Petrovics, executive producer: Sára Szentmiklósi, cast: Ildikó Bereczky, Judit Németh, Mrs Szilágyi Andrea Szemők, Mrs Szabó Mária Kiss, Ágota Bárány
Duna Television, 2003, video, black and white+colour, 40’
For centuries Baranya county, the cradle of the Hungarian reformation, was a protestant region. In the second half of the twentieth century the Lutheran religious life became ever more difficult, and to to be sent there as a pastor was almost a punishment. The church sent female pastors to places where the difficulties were too great for men, but the women found life even harder. On the one hand they had to face prejudice against women, and on the other hand, besides their pastoral duties they had to raise children and maintain the household. Perhaps the most difficult thing for them was the constant need to rearrange their prioritiesound: first work, then family, then the other way round, time and time again.

‘The Aura of István Eiben - The Last Roll’
director: Gabriella Medgyesi, reporter: Beatrix Németh, camera: Gábor Szepesi, editor: Ádám Prim, sound: István Wolf, executive producer: Mária Vitok, cast: Tibor Bitskey, István Gaál, György Illés, Árpád Makay, István Nyakas, Ferenc Szécsényi
Duna Television, 2002, video, black and white+colour, 43’
István Eiben (1902-1958) worked in the film industry since he was fourteen. He was the director of photography in more than 150 Hungarian films and his name become a commonplace in the profession. He won international renown as a specialist and a teacher of the new Hungarian generation of cinematographers. He worked with the Hunnia Studio from its foundation in 1929 onwards. From 1952 until his death he taught at the Academy of Film and Theatre. In this film his colleagues and friends evoke his memory and his professional skill. They see Eiben as a genuine gentleman, who was obsessed by his work. When he died in 1958 his colleagues were not permitted to fly the black flag on the building of the studio because it was the anniversary of the 1956 revolution.

‘The Frozen Island of Life – The Antarctic’
1. Arrival
2. Life in the Oasis
3. The Secrets of the Icy World
4. The Tamed Wilderness
director, editor, producer: Zsolt Marcell Tóth, screenplay: Sándor Fiar, camera: Attila Dávid Molnár, Zsolt Marcell Tóth, Tamás Szabados (archive), music: Mátyás Attila Merkaba, narrator: Pál Sztarenki, executive producer: Lídia Bánóczi, collaborator: Csaba Abaházi, Miklós Gróf, István Kovács J., Rita Sinkó, cast: Éva Bugya, Sándor Fiar, Péter Illyés, Attila Dávid Molnár, Balázs Nagy, Veronika Nemes, Zsolt Marcell Tóth
Symmetry Film Productions, video, colour, 150’
The members of the Frozen Oasis Research and Film expedition travelled to the antarctic King George Island in 2003. They spent the summer - three months - there. The film portrays the hardships they experienced, and depicts the work and the living conditions in the antarctic research stations. We can enjoy an unforgettable series of images of the landscape, and of the life of penguins, seals and birds.

‘Broken Up’
director: Gábor Péter Németh, camera: Zoltán Lovasi, János Péter Molnár, Albert Rácz, editor: Balázs Féjja, music: Ernő Weszely, producer: Jenő Hábermann, cast: Ella Kökény, Violetta Lakatos, János Mezei, István Petrucz, Mrs Sallai Gizella Tóth
Film-Art, 2001–2003, video, colour, 40’
Ella and János are mentally disabled. Ella, who has a mental age of four, managed to avoid contraception, and did not even to tell János until she was three months’ pregnant. She gave birth to a healthy little girl, but the baby was taken away from her and adopted by strangers. The couple were placed in a home, where it would have been possible for them to bring up their child. But it was not to be. In the new situation János realized that the mental abilites of Ella are greatly inferior to his own, and that there are other goals as well as other women…

‘Humans, If They Exist’
director, camera: Ernő Nagy, reporter: István Borbás, Lajos Takács, music: Ákos Haszon, producer: Lajos Takács, cast: Gyula Konkoly
Gallery Frontline, 2002, video, colour, 19’
The film is an introduction to the intellectual and imaginary world of painter Gyula Konkoly (1941). The film shows how he constructs his exhibition in the Museum of Modern Art, follows him to the Swedish National Museum in Stockholm, analyses pictures there, then comes back with him to his studio in Budapest where we see how he works.

director, camera: István Jávor, reporter: Balázs Berkovits, editor: Zoltán Ligeti, music: La Rue Kéta Nou
Black Box Foundation, 2001–2002, French, Hungarian language, Hungarian subtitles, video, colour, 68’
The Emmaüs Movement was inititated by Abbé Pierre, a Catholic priest, in 1949, and was officially founded in 1953. Today Emmaüs takes care of 3500 homeless people in 114 communities. The work without state support, trying to bring as many marginalized people as possible back into everyday society. Since 1954 the organization has been running a project for home construction.

‘This is as True as You Believe’
On the Trail of the Chronic Liars with András Berecz
director: Erika Karácsony Molnár, camera: Zsolt Kötő, Sándor Mohi, editor: Judit Kollányi, sound: Balázs Balogh, Vince Kapcsos, Antal Katyi, executive producer: Miklós Szederkényi, producer: Sándor Buglya
Dunatáj Foundation, 2001–2002, video, colour, 55’
The film commemorates those characteristic figures of Hungarian folklore, the “háryjános” or chronic liars. Their golden age was in the days when most people never left their villages, except for young men doing military service. Villagers believed everything that the story tellers said. The latter were great characters, and their stories are kept alive in the collective memory of the village.

ÉLETKE 1-2. - Száz éves a Mozgásjavító Általános Iskola és Diákotthon
‘Little Lives 1-2 - The Asylum and Community of Handicapped Children is One Hundred Years Old
director: Judit Felvidéki, camera: Zoltán Kovács, editor: Júlia Kende, sound: Gábor Rozgonyi, executive producer: János Mándi, collaborator: Erzsébet Kútvölgyi, producer: György Fülöp, Pál Nádas, cast: Pál Nádas and his collaborators, his parents and children.
Centrál Film Studio, 2003, video, black and white+colour, 52+53’
The Asylum and Community of Handicapped Children was founded in 1903 with six children. By the thirties the asylum had developed into a complex institution of rehabilitation, education and training. It had its own savings bank, orchestra and sports club. All these were destroyed by politics. After nationalization the range of activities of the institute was greatly reduced, and after 1956 the Asylum was moved to a building which had not been built for this purpose. From the film we learn about the lively activities of the present institution, its collaborators, the parents as well as the children themselves.

FARAGÓ… - Vázlat Faragó Géza festőművészről
Faragó - Sketch of Géza Faragó Painter
director, screenplay, editor: Judit Moldoványi, expert: Katalin Bakos, camera: Lakatos Iván, sound: Zoltán Bozóki, István Pölhőssy, music: Ágnes Szigeti, producer: Csilla Thuróczy, cast: Kitty Faragó
Krónika Alkotóközösség és Filmalapítvány, 2001, black and white+colour, 37’
Géza Faragó (1877-1928), painter and graphic artist, was Mucha’s and Colarossi’s pupil in Paris. After his return to Hungary he held his first exhibition at the National Salon in 1900. Then he went back to Paris and later continued his studies with Adolf Fényes in Szolnok, and with Béla Iványi-Grünwald in Kecskemét. His Art Nouveau posters sparkle with his original wit (the best known are those for Gottschligrum, Törley champagne and Kerpel hand cream), he designed sets and drew caricatures. He worked at the Király Theatre, and later at the Budapest Operetta Theatre and at the UFA Film studio.

“Pine Wedding” in Szentgotthárd
director, camera: János Tari, camera: Miklós Mánfai, editor: Katalin Kabdebó, executive producer: Sára Szentmiklósi, cast: Károly Krajczár, Mária M. Kozár
Duna Television, 2003, video, colour, 28’
The ˝Pine Wedding˝ is a Slovenian tradition, first recorded around Szentgotthárd in 1932. It is held when no real wedding has happened in the community from Twelfth Night till Shrove Tuesday. The Slovenian name ˝Shame wedding˝ means wedding with the tree. As a punishment for not getting married the young people have to haul the log, so that they might be married next year. This tradition was suppressed for many decades, but since the nineties the celebrations have been revived. The tradition introduced in the film is a feast celebrated by Slovenians who come to the event from all the villages around, from Budapest and even from Szombathely.

‘Painter in the Bag’
director, camera, screenplay, producer: Iván Lakatos, expert: Éva Bajkay, editor: Ádám Csillag M., Judit Moldoványi, producer: Csilla Thuróczy, Irén Tóth, Béla Üveges
Krónika Alkotóközösség és Filmalapítvány, 2003, video, black and white+colour, 23’
We know relatively little about the life of the painter Lajos Károly Libay: only his paintings speak for him. He went from his father’s goldsmith’s shop to the Academy in Vienna, where he started to paint refined landscapes. In 1840 he went to Munich and to Nürnberg. Later on he visited Egypt and the Holy Land, and published an album of views of Lake Balaton and the Tatra, too. His album on the Middle East received a German scientific award presented by Alexander von Humboldt, and he received a letter of acknowledgement from János Arany. He was still wandering in the mountains at the age of seventy, and his drawings are still used as sources by geographical researchers. With the spread of photography, this kind of painting became redundant.

‘Figaro here, Figaro there’
director: Zsolt Juhász, Sára Schilling, Péter Szalay, camera, editor, sound, producer: Péter Szalay, executive producer: Zsolt Juhász, Sára Schilling, Péter Szalay, cast: István Méhész, Péter Rábich, Nelly Vágó, Judit Beda, Gyula Fodor
DADA Film, video, colour, 26’
The film finishes just as the curtains go up at the beginning of the opera The Marriage of Figaro. What kind of work needs to have been done before opera performance? How are the decorations, the scenery and the costumes made, how it is possible to hold rehearsals in the half-ready stage? We find answers to all of these questions and in the meantime the performance takes shape under the direction of Mikós Szinetár.

‘Sentenced to Flamenco’
director, screenplay: Gyula Sághy, camera: László Komáromy-Poros, Péter Dobrányi, editor: Márta Révész, sound: András Horváth, executive producer: Norbert Solymosi, cast: Gábor, Zoli, Imre, Péter, András
Fórum Film Foundation, 2001–2003, video, colour, 43’
The characters in the film are inmates of the correctional institute for young offenders in Szőlő street. Most of them were sentenced and confined here for robbery and theft. One of them, Zoli, has been in the institute since 2000. He claims that he was just in the wrong place at the wrong time; he didn’t do anything wrong. Two of the teachers went on a dancing course, and now they are teaching flamenco to the boys. The performance is very important for themusic: proof that they are able to create something as well.

‘Humans Fall Down’
director: János Szita, reporter: Gábor Réz Betyár, story editor: Attila Vida, camera: Béla Poppé, editor: Levente Nánásy, narrator: Gábor Balogh, music: János Szita, cast: Péter Németh, Zoltán Barta, Orsolya Barta, Gábor Zsonda, Bence Bodrogi
Karakter Film, 2003, video, colour, 40’
Star Wars was first screened in Hungary in the summer of 1979; it became the most popular film of the year with two million viewers. Two decades later another Star Wars film, Episode I - The Phantom Menace, became the most popular film of the year once again. The Star Wars Club was started in Budapest in 1996. The members make costumes, play role games, and shoot films in the spirit of the original. They plan to keep this hobby up for the rest of their lives - one has even named his son Anakin ….

‘László Garaczi’
(Márai-díjasok Series)
director: Péter Havas, editor: Gyula Darab, camera: Virgil Szilágyi, sound: Enikő Sárvári, executive producer: István Nedeczky, producer: György Illés, collaborator: Péter Valló, cast: László Garaczi, Ildikó Noémi Nagy, Gábor Németh, Tibor Sándor, László Fekete
Society of Hungarian Directors of Photography (HSC), 2002–2003, video, colour, 50’
Portrait film of László Garaczi (1956) who is a writer, poet, literary translator and dramatist. Through extracts from his work we get to know his way of writing and his style, as well as meeting his best friends.

GONDOLTA VOLNA A KUGLER HENRIK - A Kugler testvérek filmje
‘Henrik Kugler Would Have Thought - The Kugler Siblings’ Film’
director: Edit Kőszegi, camera: Gyula Kőszegi, editor: Mária Rigó, sound: Tamás Zányi, executive producer: Norbert Solymosi, producer: Tamás Fehéri, Dr Erzsébet Szilágyi, music: Ildikó Rádi, Gabriella Szentpéteri, collaborator: Attila Gerendás, cast: Gyula Kőszegi (Kugler), Mrs Kőszegi Teréz Fodor, Irén Kugler, Edit Kugler, Ede Kugler
Fórum Film Foundation, video, black and white+colour, 76’
The Köszegs (sister and brother) trace the history of their family, the Kuglers, since 1802, as it unfolds in the recollections of their aunts, uncle and parents. Henrik Kugler took over his father’s pastry shop in 1852, and transferred it to what is now Vörösmarty square. In 1884 he sold the shop to the Swiss Emil Gerbeaud. The other legendary scene of the film is the Kuglers’ garden in Pécel where the family spent their vacations. The filmmakers’ father, an actor, changed his name to Kőszegi because he was only allowed to work under this name. Today only one person, uncle Ede the the wine-grower, still bears the name of Kugler. The only remaining memorial to the Kugler garden in Pécel, a statue of Atlas, stands on his property in Badacsony.

The Gresham Palace
director: Júlia Szederkényi, expert: László Szelke, Csaba Mányai, camera: Adrienne Horváth, editor: Ádám Prim, sound: Zoltán Tihanyi, executive producer: Judit Ordódy, narrator: Ágnes Csere, cast: Gábor Gruppa, Miklós Szentkirályi, József Hofecker, Csilla Kérey, András Zahora
Duna Television, 2003, video, black and white+colour, 40’
The Budapest palace belonging to the London-based Gresham Life Insurance Company was built in 1907, to the design of Zsigmond Quittner and the Vágó brothers. Work for the art nouveau building was done by the most famous masters of the age: the glass mosaics came from Miksa Róth’s workshop, and the wrought iron gates and ornaments were manufactured in the atelier of Gyula Jungfer. Endre Nagy’s caberet played – until it was banned – in the ground floor café, and the Gresham circle of painters used to hold their meetings there. The actor Gyula Csortos and the actress Ida Turay lived in the building, too. The palace was badly damaged during the war and further spoilt by alterations done in the 1950s. Renovations started in the late 1990s, and now the building houses a luxury hotel. The film shows the past and the present beauties of the palace, and the difficulties the experts had to face during the restauration process.

director: Lehel Oláh, camera: Balázs Dobóczi, editor: Péter Politzer, executive producer: Péter Ilovszky, producer: András Muhi, cast: Theo Bikris, Gina Moreno
Inforg Studio, 2003, video, black and white, 21’
Scavenging as operetta, a cavalcade of rubbish-sifting, cut to the rhythm of music, full of comic images, inspired by Czech humor

‘Fragments of Diamond - On Ferenc Juhász’
director: Gábor Dettre, producer: Éva Aranyosi, camera: Attila Keresztes, operatőr: Sándor Kurucz, Ferenc Pap, munkatárs: Jenő Koltai, Eszter Kovács, Olga R. Takács, Aranka Ugrin, collaborator: György Bánffy, Erzsébet Kútvölgyi, Péter Fancsikai, Anita Kálmán, Edina Ódor, Flóra Quintus
Duna Televízió, 2003, video, black and white+colour, 50’
Ferenc Juhász (1928) was one of the best known poets of socialist Hungary. This film portrait follows his private history, which was not independent of the turns in public life. From his mother he inherited an attachment to spiritual values, and from his father a stormy love of life. He received his first Kossuth prize in 1951. In 1956 the Petőfi Circle offered him a position which he refused because he had his Communist party membership card in his pocket. In 1976 he was probably not awarded a Nobel prize because Hungarian emigrés did not appreciate his being a Communist. Since the political changes he has been in a vacuum, made worse by the fact that most of his contemporaries and friends are dead. He is not afraid of death, but he would still like to realize his plans.

Candle Flame
director: Gábor Péter Németh, camera: Viktor Németh, editor: Balázs Féjja, sound: Gábor Nagygyörgy, producer: Jenő Hábermann
Film-Art, 2003, video, colour, 29’
Anna and Jóska grew up in an institution, they got to know each other there. Now they are getting married. The film presents the members of their families whom the filmmakers were able to contact. At the wedding they both hold candles; they light them together, then each blow out their own. With the marriage a new life begins for them.

director, camera: Gabriel Szollosy, producer, executive producer: Anna Jancsó, music: Smart Sound libraries, Freeplay music, cast: Eszter Győry, Roger Abramson, Jody Vargas, Samuel Roker, Macuria „Merc”
Librecine, 2003, video, colour, 38’
A film portrait of Eszter Győry, a painter and sculptor who left Hungary in 1964. She found Austria too severe, tried to live in Germany and in Paris too, but finally settled happily in Miami. She regards herself and her works as Hungarian, even if she is an “internationalist”. According to her colleagues and fellow artists her work cannot be described in terms of traditional criticismusic: it is hard to say what she wants to express. For Győry, what matters is that nothing should be grey; everything should radiate the harmony of colours.

If Only One…
director: László Martinidesz, Béla Körtési, screenplay: László Martinidesz, Károly Boros, szakértő: Károly Boros, Béla Benza, camera, editor: Béla Körtési, producer: László Martinidesz, music: J. S. Bach, L. v. Beethoven, Félix Lajkó, Dávid Pálhegyi, cast: Mrs András Bácskai
Fundamentum ’93 Studio, Pax Vobis Foundation, video, colour, 60’
A film portrait of Mrs András Bácskai, a nurse in Kecskemét. His father was a forester and she spent her childhood in the woods. There was a gipsy community living in the neighbourhood, and she learnt many things from them. In Kecskemét she founded a refuge for mothers and babies, organized the preparation of young people for marriage and set up a club for disabled children and their parents. After welfare services were consolidated she moved to a village, where she has been busy caring for the elderly and for families. She worked for the Alfa society since 1996, and she also helps to organise the adoption of babies.

Dying Memory
director, editor: Attila Seprődi Kiss, camera: Zsolt Kötő, editor: Miklós Antal, executive producer: Miklós Szederkényi, producer: Sándor Buglya, music: Ági Szigeti, cast: Attila Ambrus, Zsolt Raduch, József Templfi, Irén Implon, Tibor Endre Pásztori, György Gaál
Dunatáj Foundation, 2002, video, colour, 45’
The film shows how Hungarian cemeteries in Romania have been destroyed (at Brassó and Nagyvárad-Váradolaszi) or taken over (at Kolozsvár and Házsongárd) during the last forty years. The movement started by the Házsongárd Foundation is exemplary: students take care of the graves. learning that the burial place of their ancestors is also part of their own past. They try to prevent the “conquest” of cemeteries through individual initiatives, with the financial support of foundations.

István Haraszty
(Tálentum Series)
editing, director: Árpád Sopsits, camera: Sándor Csukás, editor: Katalin Kabdebó, sound: József Belovári, executive producer: Aranyosi Éva, cast: István Haraszty
Duna Television, 2003, video, colour, 26’
A film portrait of ironical, wise István Haraszty, the sculptor who was already making mobile sculptures before he even knew that such an art-form existed. Before the political changes he spent twelve years teaching students how to make turning lathes because the official artistic establishment stigmatized him as “politically confused”. He is well aware that perpetual motion is impossible, but that doesn’t stop him tinkering with the idea - you never know …

Images Returning Home - Szék
director: Attila Magyar n., camera: Béla Kása, Attila Magyar n., Gábor Váradi, editor: Miklós Antal, sound: Vince Kapcsos, executive producer: Miklós Szederkényi, producer: Dr Sándor Buglya, music: István “Icsúr” Ádám, Ilka György Moldován Snr. and the group, Bori János Kocsis, Ilka György Moldován Jr., cast: Béla Kása, Bori János Kocsis, Ilka György Moldován Jr., Zsuzsi Sánta, Marci Pali, Márton Sipos
Dunatáj Foundation, 1996–2003, video, black and white+colour, 85’
“Buci” Béla Kása has been visiting the Transylvanian village of Szék to collect music and to take photographs since the seventies. In this film he visits all his acquaintance, they play music, look at pictures and so recall the old, better times.

Three Painful Steps
director: István Tényi, editor: Beáta Eszlári, camera: Ilona Szathmáry, Péter Vékás,
Mokép Uránia Műhely, video, colour, 43’
Since 1993 a system has existed to prevent homeless families from being split up. Under the child protection law, Temporary Family Housing has become a basic service, as part of a three-year program. 1. Pre-saving: clients can stay in the home for a maximum of one year. They pay no rent, but they must save 35 000 forints per month. 2. The family moves into “external accommodation”; now they have to pay rent. 3. They find a rented home or buy property of their own. The purpose of the program is, besides offering shelter, to prepare the family for independent life. The film how Temporary Family Housing actually works, by telling the story of one family.

Guarding the Home Fire
director: Zsolt Cséke, expert: Ospanov Maxat Ajnabek-Uly, Ospanov Ajnabek, Bexultán Eraly, camera: Zsolt Cséke, Attila Cséke, editor: László Csordás, executive producer: Ferenc Boronkay, narrator: Tamás Szalma, Ospanov Maxat Ajnabek-Uly, collaborator: Péter Kun, Szilárd Bélteczki
Naturfilm, Kazakh language, Hungarian voice-over, 2002, video, colour, 58’
Not many nations are lucky enough to be able to study their ancestors’ way of life at first hand. We Hungarians can, because there are still a number of ethnic groups who live in almost the same way as our ancestors did. One of the most archaic versions of this nomadic equestrian culture is conserved by about a hundred thousand Kazakhs who live in Bajan Öglij county in Western Mongolia. This films portrays their everyday life and customs.

‘Footwear - A Film About Boots’
director, screenplay: Tamás Magyar, konmusic: Mónika Lakner, László Torma, camera: Péter Vékás, editor: Gábor Zajti, sound: László Kósa, Ákos Solymosi, executive producer: Csilla Thuróczy, music: Ágnes Szigeti, producer: Iván Lakatos, narrator: Adrienn Zahorán, Tibor Bitskey
Krónika Alkotóközösség és Filmalapítvány, 2003, video, black and white+colour, 26’
Parallel with the development of the human mind, footwear has changed, too. In the beginning natural forms (like bears’ paws) were used; later on foot coverings were made out of smooth pieces. The earliest real shoes were moccasins, cut out in one piece, ancient Hungarian boots were probably made of leather and felt. This film shows, with the help of contemporary pictures and archive materials, how the style of boots changed over the centuries.

”Listen to Me, Children…”
director: András Surányi Z., Júlia Sívó, Bernadett Frivaldszky, sound: Vince Kapcsos, executive producer: József Majoros, producer: Györgyi Kulcsár
Unio Civilis, 2001, video, colour, 54’
In 2001 a retirement home was opened for Roma people in Hodász. According to Roma traditions, old people deserve special respect in the family, so it is very difficult for them to live even in a comfortable, well equipped home. They feel lonely and rootless. The film portrays the home and its inhabitants through the eyes of an old lady. She accepts that her family wouldn’t be able to take care of her, but she is upset at not being visited more often and not being together with her relatives.

‘…You Got It Free, You Give It Free…’
director: Péter Gerő, camera: Gábor Ducsay, editor: Károly Csalóczki, sound: Mária Bodméri, cast: Eszter Fehér
Arc Studio, 2002, video, colour, 14’
Éva is a nurse in a home for homeless people in Dankó street. In her free time she cuts and dyes the inmates’s hair. She doesn’t accept money, since she believes that she received her talent from God. She has clients even from towns as far away as Győr and Szombathely. Éva knows what sort of problems these people face: she has been homeless herself, losing her home, her family, and her own child through alcoholism. In 1996 she converted and since then she has placed her trust only in the Lord. She has a message for the politiciansound: “Don’t just hold up the bible at your campaign meetings - open it too! God has his own election platformusic: love righteousness, be merciful, come in awe to your God.”

ITT SE, OTT SE - Poszler György, a csendes töprengő
‘Neither Here nor There - György Poszler, the Silent Thinker’
director: László Kántor, reporter: László Csíki, camera: Szabolcs Bánk, editor: Ágnes Mógor, sound: Róbert Juhász, executive producer: Zsuzsa Kulcsár, cast: György Poszler
New Budapest Filmstudio, 2003, video, colour, 60’
A portrait of György Poszler. Born in 1931, he escaped from Transylvania to Budapest with his family in 1945. Since then he has always felt “neither here nor there”. He took his degree at the faculty of arts in 1953, then started to teach in Mosonmagyaróvár and in Szombathely and began his career as a literary historian. Since 1972 he has taught at the Department of Aesthetics and at the Academy of Film and Theatre. He became well known as a literary historian with his monography on Antal Szerb (1973). The film reflects his irony and wise wit.

JÁTÉK-FILM - Portrévázlatok
‘Toy Film - Portrait Sketches’
director: András Péterffy, editor: Ildikó Szakáts, camera: Ernő Nagy, editor: Péter Szalay, music: Zoltán Krulik, cast: Júlia Deák, Mrs Gál Anikó Csizmadia, Klára Gera, Antónia Horváth, László Horváth, Norbert Néder, János Pálfi, Mrs Szabó Mária Bognár (Toy Guild)
Euromozaik Foundation, 2002, video, colour, 52’
A portrait of the Toy Guild, whose members live in different parts of the country, and meet at Jakabszállás, at the craft fair. The puppet maker, the felt maker and the wood carver all believe that he who creates something with his own hand, has a different relationship with the world. Not all of them live by making toys but it is very important for them to pass the pleasure of making toys on to their children.

‘Fradi is Better’
editing, reporter: Norbert Szirmai, camera: János Révész, collaborator: Máté Balogh, cast: Jenő Kaltenbach, Oszkár Egri, József Szeiler, Lajos Szűcs, Tibor Varga and the Fradi fans
The Media Roma School of the Black Box Foundation, 2002, video, colour, 17’
The film shows the openly racist views of some young fans of the Ferencváros (Fradi) football team, and juxtaposes them with the opinions and experiences of the ombudsman, the lawyer of the Jewish community association, the manager of the team and the football players themselves. We also hear from a die-hard Fradi fan who is of Roma origin, and who is systematically insulted at matches.

‘Rightist University Students’
director, camera, producer: István Jávor, reporter: Tibor Kovácsy, editor: Gyula Kormos, editor: Zoltán Ligeti, music: In dextra veritas, cast: Gábor Szabó, Raymund Kékesi, Ákos Mester, András Papp, János Puskás
Black Box Foundation, 2002–2003, video, colour, 41’
The film follows the campaign tour of the students’ movement “for a better Hungary” in October 2002. According to the party chairman Gábor Szabó and his companions “the system never really changed in Hungary”; there is no essential difference between the political elite of the right and the left: they represent different sides of the same business. The movement supported the right-wing parties, FIDESZ-MPP and MIEP, because they think that Hungarian interests can only be represented by the right wing. The film also shows the rightist political events of 2002, (the blockade of the Elisabeth Bridge, rallies, demonstrations and we also see some of the meetings of the movement with guests like István Csurka, László Tőkés, Lóránt Hegedűs.

A JÓSZÁG VOLT AZ ARANYA A NÉPNEK - Requiem a szatmári csordákért
‘Cattle Were the People’s Gold - Requiem for the Szatmár Cattle’
director: Dezső Zsigmond, camera: Sándor Mohi, editor: Gabriella Koncz, sound: János Gonda, executive producer: Miklós Szederkényi, producer: Sándor Buglya
Dunatáj Foundation, 2003, video, colour, 60’
The dairy farmers of Magosliget village in Szatmár county had to part with their cows because it was too difficult to sell the milk. The families are traditional cattle keepersound: the hard, devoted life is in their blood, they are powerfully attached to their animals, and they really mourn the loss of their herds. After the political changes government farming policy was never properly thought through and this caused critical situations in various branches of agriculture. EU integration caused new traumas for the farmers, who are almost completely helpless because they neither understand nor trust the agricultural subsidy system of the EU. The end of the herds means the loss of centuries-old village traditions.

‘The Sub-Carpathia Through Hungarian Eyes’
director: Péter Havas, screenplay: Márta Blaskó, camera: Vilmos Füredi, István Haines, collaborator: Katalin Édua Jakab, Ágnes Szigeti, Zsuzsanna Szitányi, István Gyurity, cast: Dr Péter Lizanecz, István Szoboszlai, Károly Balla D., György Dupka, Attila Vidnyánszky
Aurea Sectio, 2002, video, colour, 50’
The Hungarian community of two hundred thousand people in the Carpathian part of the Ukraine has been reduced by emigration since the political changes. It is very important to create a system of high-quality cultural institutions which would help to keep young people at home. This film shows the Hungarian schools, the media, the publishing houses, and tells of the achievements and goals of the Illyés Gyula Theatre in Beregszász. The Hungarian media and the gradual rebirth of church life are important ways of maintaining Hungarian culture. Most of the institutions are in financial difficulties; they could not survive without the support of the mother country.

Picture-Writing with the Colours of Peru and Bolivia
director, editor: János Péter Zoltán, expert: Dr János Gyarmati, camera: Zsolt Marcell Tóth, editor: Csaba Trubiánszky, producer: Tamás Martini
Aloha-Sportline Production, MTV, 2000, video, colour+black and white, 50’
A travel film about Peru which consists of images, impressions, philosophical thoughts, and the contradictory elements of the everyday modern life. The rich and glorious Inka past has left its traces even on the impoverished present. For the film makers, past and present are equally
exciting; neither is more important than the other.

(Tengerszem Series)
director, editor: István Sipos, reporter: Szilvia Krizsó, camera: Péter Jankura, editor: Attila Ferenczi, executive producer: Sára Szentmiklósi
Duna Television, 2002, video, black and white+colour, 93’
András Kern (1948) was a child actor, who played his first film role in 1958. In 1962 he did take-offs on a talent-spotting TV program; his performance brought him country-wide fame, but also labelled him as a parody-actor. In 1965 he won first prize at an amateur film festival with his film “What next?”. At the Academy of Film and Theatre the famous actor and director Zoltán Várkonyi became his teacher. He has been a member of the Vígszínház company since 1970. He believes that there are no rules in the job: he has to start all over again with every new role. He is very interested in film-making, but finds the material difficulties of directing discouraging. This film includes excerpts from his films and theatre performances.

A KETTŐ ÉS AZ EGY – RAKOVSZKY ZSUZSA - Versfilm Rakovszky Zsuzsa műveiből
‘The Two and the One - Poem Film Based on Zsuzsa Rakovszky’s Work’
(Tálentum Series)
director: Mária Vizi, editor: Katalin Mészáros, camera: Gábor Szepesi, editor: Anita Szirti, sound: Frigyes Wahl, executive producer: Éva Aranyosi, cast: Zsuzsa Rakovszky and her son, Tibor, Nóra Parti, Iván Talpas
Duna Television, video, colour, 29’
The poet Zsuzsa Rakovszky (1950) published her novel The Shadow of the Serpent in 2002. The book won both critical acclaim and public popularity. This film portrait, reviving details of the book, introduces Zsuzsa Rakovszky as a poet and as a person.

‘Two Women’s Tears’
Requiem for Gábor Földes
director: István Tényi, camera: Gábor Balog, editor: Beáta Gábor Eszlári, consound: Ilona Szathmáry, producer: Miklós Szederkényi, Sándor Buglya, cast: Mrs Gábor Földes, Edit Kéri
Dunatáj Foundation, video, black and white+colour, 22’
Many unarmed participants in the 1956 revolution were sentenced to death during the show trials. Gábor Földes (1923-1958), one victim of these trials, tried to prevent a tragedy in Mosonmagyaróvár, similar to the events in Köztársaság square in Budapest. In this film his widow and one of his colleague remember the actor and the director who was killed at an early age.

Two Weeks’ Off
director: András Surányi Z., reporter: András Visky, sound: Vince Kapcsos, Márton Virág, editor: Júlia Sívó, producer: Miklós Szederkényi, Sándor Buglya
Dunatáj Foundation, 2003, video, black and white, 54’
An orphan, Mária Deme arrived in the Calvinist pastor’s family for a “two-week vacation” in 1947; she has been living with them ever since. She helped to do the housework, and to bring up the seven children. In 1958 the pastor was sentenced to twenty-two years’ imprisonment, and his wife Júlia, together with her seven children, were deported. Mária followed them. In the prison camp there was neither food, nor water. Mária, in spite of her deep religiosity, was not ashamed to steal to help the family. They were released in 1964, and Mária is nostalgic about that time, when they were together and not split up as they are today.

‘Two Elections in Hungary’
director: Menyhért Katánghy (Attila Magyar n.), editor: KM (Attila Magyar n.), János Kovács, István Nagy, reporter: János Joka Daróczi, camera: Péter Dömötör, editor: Csaba Galambos, Imre Sal, sound: KM (Attila Magyar n.), Győző Kicsiny, executive producer: Péter Tóth, music: Kálmán Balogh, Albert Márkos, Night Roosers, Romanyi Rota, Taraf de Haidouks, dj. Titusz, Zoltán Végső, cast: József Raduly, Jenő Kaltenbach, Aladár Horváth, Béla Osztojkán, Vilmos Kövesi
Monostori Film, 1999–2003, Hungarian and Roma language, Hungarian subtitles, video, colour, 49’
In the 1999 elections the Lungo Drom Election Coalition led by Flórián Farkas obtained 53 seats on the Roma minority self-government councils. Its opponents, the Roma Social Solidarity Party and the independent candidates, failed to win any seats at all. In 2003 the results were just the opposite. Lungo Drom protested, the elections were repeated, but the Democratic Roma Coalition still got 51, and the Lungo Drom only 2 seats on the national council. As Jenő Kaltenbach, the ombudsman for minorities sees it, the whole Hungarian legislation is responsible for the situationarrator: the law about minority self-government is a failure.

‘Who Was János Vajda’s Mysterious Gina?’
(Hetedik szoba Series)
director: Mária Sós, screenplay, editor: Zsuzsa Katona, camera: András Dér, editor: Tamás Pál, sound: Tibor Belovári, music: Katalin Sándor, narrator: Ádám Schnell, producer: Péter Nyeste, cast: Dér Denissa, Olga Antal, Géza Balkay, Zsuzsa Böllei, Maruszja Dér, Gábor Gyáni, János Háda, András Lányi, Péter Nyeste, Lajos Szekeres, Zozo Mama’s artiste group
Aster Film, 2002–2003, video, colour, 26’
Georgina Kratochvill was born into a wealthy family in 1837. Her father was a forester, who remarried after losing his first wife. In 1855 Gina and her stepmother went to Pest, where she met the poor poet Vajda. In 1858 the ambitious Gina became the elderly count Mihály Esterházy’s lover. She learned languages, music and dancing. Meanwhile the poet had started to write his poems for Gina, later regarded as the basis of modern philosophical and love poetry. After the death of the count, her father, and her stepmother, Gina became a lonely but rich woman. In 1879 she founded the Oroszy Circus, where she appeared as a circus rider. The circus went bankrupt, Gina lost everything and finally died in a poorhouse in 1910.

„KICSIT VISSZA KELL MÁR FOGNOM MAGAMAT…” - Beszélgetés nagynénémmel
“I Have to Hold Myself Back A Bit… ” – Talking with My Aunt
director: Eszter Király, Júlia Sívó, production manager: Margit Pákozdy, camera: András Surányi Z., producer: Dr Erzsébet Szilágyi, sound: Vince Kapcsos, with: Ms Gerle György Irén Preisich
Fórum Film Alapítvány, without a year, video, black and white+colour, 61’
Irén Preisich (b. 1915) feels privileged, because she’s able to see the good side of things that others find frightening. The small, thin woman talks with calm humour and understanding, so the point is the liveable and not the terrible. Her father was a doctor at the time of the Dreyfus trial in Paris and decided not to be a Jew any more. He was a man of character: he was baptized only after achieving a great deal as a Jew. Irén’s husband, architect György Gerle, was carried off for labor service in 1942. Despite her Swedish free pass, she too was almost deported, but escaped. They both survived the war, their son was born in 1947 and became an architect too. She’s still an active physiotherapist.

A KIENGESZTELŐDÉS ÚTJÁN - Ebedtől a Cseh-medencéig
’On the Road of the Conciliation – From Ebed to the Czech Hollow’
Part 1
director: Alajos Paulus, camera: László Gyűgyi, editor: Katalin Kabdebó, executive producer: Ibolya Robák, collaborator: György Atinay, László Balogh, Mrs Dániel Erzsébet Matus, Sándor Kamocsai, Miklós Kuczman, Erzsébet Pogány, with: Jenő Sillye, Dr Károly Vigh, Mrs Ferenc Kónya, Róbert Horváth, Károly Németh
Varioszkóp Bt, without a year, video, black and white+colour, 55’
In accordance with President Benes’s decrees the Hungarians and Germans lost their nationalities, could not be members of mass organizations or have their own schools in post-WW II Czechoslovakia. Many of them were interned and had their flats confiscated, they could not speak in Hungarian. Hungary and Czechoslovakia agreed to a population exchange in February 1946. Whoever declared themselves Slovakian, got their nationality back. Whoever did not was interned or expelled. The film recalls the past and represents the possibilities for conciliation and rehabilitation: the ceremonial opening of the Parkany bridge and the certificate for Hungarians.

’Ferenc Kiss’
director, camera, editor: András Kalmár, producer: Ferenc Kiss, Péter Novák, screenplay, music, lyrics, sound: Ferenc Kiss, with: Ferenc Kiss, Mrs Borbély Ida Nagy, Barna Nagy, Sándor Borbély, Péter Novák
Etnofon Népzenei Kiadó, 2002, video, colour+black and white, 52’
Portrait of the composer and ethnographer Ferenc Kiss, a member of the Vízöntő and Kolinda bands, leader of the Vasas Dance Troupe. He was collecting music in Sub-Carpathia during the change of regime, later he founded an archive and a publishing company. He has composed music for several films and plays.

KIS-BALATON - Egy esély a természetnek
’Little Balaton – A Chance for Nature’
collaborator: Miklós Szederkényi (executive producer), Géza Simor, István Zöldi (director, camera, screenplay), collaborator: Elemér Futó (expert), Zoltán Kovács, László Tutor, producer: Dr Sándor Buglya
Dunatáj Alapítvány, without a year, video, colour, 22’
The marshes of the Little Balaton have been the habitat of rare species of plants and animals for centuries. The area has been endangered many times by human stupidity and egoism. It has been a reservation since 1951, and is regarded as the most valuable ancient marshland of Hungary.

’Narrow-Gauge Railways’- Part 3: Narrow-Gauge Railways of Middle Hungary
director: Mihály Zoltán Vida, camera: Péter Czabarka, editor: Sándor Gulya, Zoltán Horváth, sound: István Perger, music: Mihály Zoltán Vida, executive producer: Tibor Pál, producer: János Zalán, collaborator: János Zalán
Masterfilm Digital, MTV, 2003, video, colour, 30’
Hungary’s narrow-gauge railways were built to serve the great estates, mines and domain forests at the turn of the 19th and 20th centuries. In the beginning the wagons were drawn by horses, then by steam engines. The total length of the lines was nearly 8,000 km. After WWII they were dismantled and public freight transport took their place. Transport policy in 1968 judged them uneconomical and aimed at getting rid of them. Some of them remained and are now enjoying a renaissance. The film is the history of the narrow-gauge railways along the Danube and presents the lines (Gemenc forest railway, Tiszakécske children’s railway, Kecskemét narrow-gauge railway).

’Selection, or the Invisible Empire of the Senses’
director: Gábor Dénes, expert: Péter Vasteleky-Einbeck, camera: Gábor Szepesi, Péter Dömötör, Gábor Dénes, editor: Lilian Uchlaczki, music: György Vukán, executive producer: Ibolya Kecse Nagy, with: Mrs Farkas Mónika Schi, Zsuzsanna Renkó, Ildikó Sasvári, Anna Varsányi, Imre Matuska and the dogs
DEGA Film, 2003, video, colour+black and white, 33’
It takes 6 months to train a guide dog for the blind. Selected owners spend 2 weeks learning how to live together with the dogs. After passing the examination they can use public transport on their own. These dogs have the right to enter any place where people can be, such as public institutions, doctors’ surgeries, hospitals, schools, restaurants, hotels, theatres or shops. The film represents the work in the Guide Dogs’ School of the Hungarian Blind and Partially Sighted Association.

KOLTAI-NAPLÓ 2001–2003
Koltai’s Diary 2001–2003
director: Klára Muhi, András Muhi, editing, reporter: Klára Muhi, camera: Balázs Dobóczi, editor: Thomas Ernst, sound: Tamás Zányi, producer: András Muhi, collaborator: Tamás Dunai, Dezső Garas, with: Lajos Koltai, Kati Koltai, György Illés, Vilmos Zsigmond, László Kovács, Mari Törőcsik, Gyula Maár, István Szabó, Vittorio Storaro, Giuseppe Tornatore, Roberto Benigni, Meno Meyes, András Hámori, Imre Kertész
Inforg Stúdió, 2001–2003, video, colour, 70’
Lajos Koltai (1946) is one of the most successful and well-known Hungarian cinematographers. The unit follows Sutyi, the great narrator who at the same time analyzes the scenes before him. Together with Vilmos Zsigmond and Laszlo Kovacs, other famous cinematographers working in the States, they were all students of György Illes. Koltai did not escape from Hungary, but he’s quite glad to work in the country with the best developed film industry. During a journey in Italy they meet the directors who worked with him. Mari Törőcsik and Gyula Maár recall the early works of the cinematographer. Meno Meyes talks about their new job (Max). Imre Kertész, author of “Fateless”, trusts that Koltai will make a success of the first film he has directed, based on the famous novel.

’Kossuth Square 1956’
director, camera: György Sibalin, editor: András Kő, editor, sound: Gábor Őze, music: Pál Molnár, narrator: János Csernák, producer: Péter Móczán, with: Károly Arnóth, Iván Baranyai, Zoltán Csikós, Szilárd Kemény, László Kovács
EPS Produkciós Iroda, 2003, video, black and white+colour, 52’
4-5,000 people demonstrated on Kossuth square on October 25, 1956.
The event was supposed to be peaceful; to this day nobody knows who started shooting.
61 people died, and there were nearly 300 wounded. The eye-witnesses tell their stories: one of them saw his mother bleeding to death, another has celebrated his “second birthday” since then. A doctor who lost his job in April 1957 also speaks. The film uses special effects to make the black and white photos and films more vivid.

’Andras Ferenc Kovacs’
(Magyarország 2002 series)
director: György Farkas, editing: Melinda Gálfi, camera: Zsigmond Erdős, editor: György Noszlopy, collaborator: Gizella Kicsid, Ádám Kroó, executive producer: József Lakatos, with: András Ferenc Kovács
MTV, 2002, video, colour, 25’
The poet from Szatmár, András Ferenc Kovács, taught for 6 years at Székelykeresztúr after finishing university. He moved to Marosvasarhely in 1990, where the periodical’Látó’ was starting. Many people cannot understand why he lives and writes in Marosvásárhely. It is not cowardice, or even fidelity that keeps him at home. He doesn’t leave because of the air and the habit: he feels good there. In the film he talks about his family and his daughter and recites some of his poems.

The Poetess and the Miner
director: Ágota Varga, camera: Károly Markert, Gyula Velez, editor: Thomas Ernst, sound: Sándor Faludi, producer: András Muhi, Ágota Varga, with: Zsófia Aranyossy, László Bencze, László Chrenkó, László Chrenkó Jr.
Inforg Stúdió, without a year, video, colour, 70’
79-year-old Zsófika and 69-year-old Laci never believed in such great love at their age. They have been together for 5 years. Laci was a miner, Zsófika, who comes from a mining family, writes poems and even recites. They are deeply attached and depend on each other; they almost never agree, but it is important to belong to somebody.

’János Kríza the Bishop of the Ballads’ - Creators of the Centuries
director, camera, narrator: Zsolt Szász, with: Levente Fekete, Mihály Barabás, Blanka Székely, Zoltán Demjén, Ágnes Fekete
Szász Film, 2003, video, black and white+colour, 38’
János Kríza (1811–1875) from Nagyajta studied philosophy and theology in Kolozsvar. After finishing his studies he went to Berlin, where he realized the special value of the Székely folk poetry. He was invited to Kolozsvár as a leading pastor, where he edited a circular letter in 1842 to find supporters for the publication of a Székely folk poetry collection. He sent the materials to the Academy of Sciences and the Kisfaludy Association, which led to a huge reaction, almost a’fever’ for collecting ballads.
The Wild Roses (Vad Rózsák, 1863) had a powerful influence; he was appointed to be a full member rather than a mere associate of the Academy. At his early death he left a large quantity of unprocessed manuscripts, which were published decades later by Dr Pal Gergely.

’The Test-Tube and the Fish’
director: László Hartai, camera: Balázs Dobóczi, editor: László Hartai, sound: Rudolf Várhegyi, producer: András Muhi, with: Dr István Dévai, Kálmán Szűcs, Gyöngyi Bojtor, Mária Nagy, Mrs Csaba Sieger
Inforg Stúdió, 2003, video, colour, 48’
The first Hungarian test-tube baby was conceived in 1988 at the hospital on Robert Karoly Boulevard (now the Nyírő Gyula Hospital). The’father’, Dr István Dévai, and his assistants were working day and night in those heroic times, using equipment that they made themselves. Overcoming innumerable material and bureaucratic difficulties they founded the Dévai Institute. Dr Dévai and his team warn the patients: the various procedures mean breaking biological rules and nobody knows when the price will have to be paid.

LOMBOS FÁM TÖVÉBEN 1-2.- Ferdinandy György portréfilm
At the Foot of My Tree in Leaf 1-2 - Portrait of György Ferdinandy
director: László B. Révész, reporter: Kálmán Kecskeméti, camera: Lajos Nádorfi, editor: Lilian Uchlaczki, with: György Ferdinandy, Gyula Doboss, Kálmán Kecskeméti, Lajos Jákó, Ede Víg
Balan–Blende, video, black and white+colour, 53+56’
Portrait of György Ferdinandy (b. 1935), writer and critic. After a hard childhood and youth he became a bus conductor, and was admitted to the Faculty of Philosophy in 1956, only at his third attempt. After the revolution he emigrated and completed his studies in Strasbourg, graduating as a French teacher. He published mainly in French from the beginning of the 60s, but his essays regularly appeared in emigré Hungarian literary journals (Magyar Műhely, Új Látóhatár). He has been teaching in Puerto Rico since 1964. The essays have been published in Hungarian periodicals since 1981 and now he is spending six months in Hungary.

’Animal Paradise of Madagascar’
director, camera: Szabolcs Pálfi, screenplay: Péter Palatitz, editor: Rita Lakatos, sound: Zsolt Hubay, Ferenc Kertes, music: Zoltán Perjés (Feaky D), narrator: János Kulka
Scientific Pictures, without a year, video, colour, 52’
Madagascar, the 4th biggest island in the world, seems a veritable Noah’s Ark with its multifarious animal and plant population. There are rain forests in the North, deciduous woods in the West and pine-woods in the South. More than 100 species are found only here, but the lives of animals of African origin have been changed by alterations in their habitat. Man has been here for only 2,000 years, but in this very short time (in evolutionary terms) he has caused irreversible damage: 90% of the forests have been destroyed, and lemurs have been exterminated.

’Birds Fly South’
1.Kalapálom a lelkedet… (I Hammer Your Soul…)
director, editing: Irén Kármán, camera: Béla Körtési, editor: Gábor Ari, producer: László Csaba, József Faragó, with: László Halász, István Csepperkáló, István Schneider, István Ágics, István Zsurzsucz
2.Iszán és Aisha (Isan and Aisha)
director: Irén Kármán, expert: Dr Shorsh Huszein, camera: Viktor Schmuck, editor: Ádám Csillag M.
3.Dólah Dortai, avagy az ember, aki szereti a dalt (Dólah Dortai or the Man who Loves the Song)
director: Irén Kármán, camera: Viktor Schmuck, editor: Márton Polgári, producer: József Faragó, with: Bayra Burenzhargal, Gombarzhav Otgonbayar, Dzhamurai Otgonbayar, Barhazbayar Otgonbayar
MTV, 2003, video, colour, 26+7+17’
In the first part the Serbian male choir fromTököl is presented. In the second, we meet Isan and Aisha, the young couple from Egypt who got married during the Iraq war. The 3rd part introduces a Mongol and his family working in a dressmaker’s salon in Hungary. The three shorts are linked by the power of music and songs.

director: Artin Tóth, music: Malcolm McLaren
BalanszFilm, 2003, video, colour, 23’
Portrait of Magda B. Müller, the still photographer. She was always interested in the extraordinary, single moments that are often discovered during the shooting of a film and this led to many arguments with the members of the crew. She finished up her job honestly, has published several books since then and takes care of her collection. She takes pictures even without a camera in her hands: often wonders whether she actually took the picture or just thought about it.

A MAGYAR HELYZET - Szabad Szemmel
’The Hungarian Situation’ - With the Unaided Eye
director, camera: András Sólyom, editing, reporter: Judit Kopper, editor: Tamás Breitner, executive producer: Rita Dudás, with: Dieter Honisch
MTV, 2003, video, colour, 26’
The Hungarian Situation– Art Before and After the Change showed works by 11 Hungarian artists (Imre Bak, Ákos Birkás, László Fehér, Tibor Gáyor, György Jovánovics, Ilona Keserű, László Lakner, Dóra Maurer, István Nádler, Sándor Pinczehelyi, Tamás Trombitás) in Berlin from October 2002 to February 2003. The curator of the exhibition was Dieter Honisch, ex-director of the Neue Nationalgalerie and for 20 years an enthusiast about Central European art. The spectators are the art historian’s guests at a lecture in the gallery.

MAGYAR TÁJAK NÉPRAJZI FELFEDEZÉSE 1–3. - Mezőkövesd, Nógrádi palócok, Balaton-felvidék
’Discovery Ethnography of Hungary 1-3’ - Mezőkövesd, Nógrad Palots, Balaton Uplands
director, camera: János Tari, expert: Tamás Mohay, editor: Katalin Kabdebó (1-2), Sándor Bagdi (3), executive producer: Sára Szentmiklósi
Duna Television, 2003, video, black and white+colour, 28+28+28’
A multicoloured mosaic of the present and past folk art of Mezőkövesd, the Palots and the Balaton Highlands made up of archive footage, and inhabitants’, folk artists’ and ethnographers’ stories.

director: Gábor Dettre, camera: Péter Fundelius, Tibor Klöpfler, editing: Eszter Kovács, Tamás Szalay, producer: Sára Szentmiklósi, music: Ágnes Szigeti, editor: Olga R. Takács
Duna Television, 2003, video, colour, 27’
In 2003 the Hungarian National Gallery exhibited Baroque paintings by Adam Manyoki that had never been shown together, with the help of Hungarian and foreign museums. This is a film about the event.

’Over the Glass Mountains’
director: Zsolt Marcell Tóth, camera: Lajos Kollár, István Tarjányi, Zsolt Marcell Tóth,
screenplay, editing: Veronika Nemes, editor: Zsolt Marcell Tóth, sound: Attila Mátyás, László Zalányi, executive producer: Bence Varga-Kittner, music: Attila Mátyás, narrator: Pál Sztarenki, with: Csaba Kiss, Lajos Kollár, István Tarjányi, Robert Peroni, Gerda Wilholm
Symmetry Produkció, without a year (2003), video, black and white+colour, 50’
Lajos Kollár and István Tarjányi failed in their attempt to cross the Greenland ice-cap in 1997 because winter came early that year: they had to turn back after 150 km. Kiss Csaba joined them in 2001 when the weather was more merciful: they covered over 600 km in 30 days. The movie presents the two expeditions and the Greenlanders’ attraction to their “green island”.

„MÉLY KÚTBA TEKINTÉK…”- Emlékezés dr. Virág Terézre
“I’m Looking into Deep Wells…”– Remembering Dr Teréz Virág
director, editing, reporter: Lilla Mátis, camera: Adrienne Horváth, editor: Beáta Eszlári, sound: János Gonda, executive producer: Miklós Szederkényi, collaborator: Virág Márton, Tibor Bucsek, Ferenc Zsigó, producer: Dr Sándor Buglya, music: Bruch, Shoshannah, Beethoven, Bach, with: Dr Teréz Virág and her family, Dr Márta Fülöp, Dr Judit Mészáros, Sári Gerlóczy, Dr Gábor Szőnyi
Dunatáj Alapítvány, 2002, video, black and white+colour, 60’
Dr Teréz Virág (1930–2000), a psychoanalyst treating neurotic children, discovered that devastating damage and social trauma (revolution, dictatorships, the Holocaust) cause serious damage even in the 2nd or 3rd generation descendants of the victims. She built her therapy upon this and established the Wells Group Surgery and Foundation. Her relatives and friends outline the portrait of a woman who never lost sight of reality.
Film extracts used: Lőrinc (1990) and Röppentyű (1992) by András Sipos.

’Memories of My Heart’
camera: Georges Goldman, Claire Bigourdan, Sándor Péter, Stéphanie Goldshmidt, sound: Sylvain Girardeau, Jean-Christophe Girard, director, screenplay, camera: Julie Perry-Sándor, music: Ákos S. Unit, with: Jean Perry
Alt Media+Libre Image, 8mm, black and white+colour, French language, Hungarian subtitles, 36’
More than 1,000 French fugitives escaping from the concentration camps were sheltered in Hungary between 1942 and 1944. Jean Perry (b. 1913) and his companions were interned in a hotel on the shore of lake Balaton, where they tried to live in peace and waited for the end of the war. Perry fought the Germans in Slovakia as a member of a French unit of partisans. This experimental, deliberately fragmentary film was made by his granddaughter Julie Perry in honor of her grandfather.

’Let’s go!’
director.: Petra Andits és Dániel Béres
No production company or year, video, colour, 41’, English language, Hungarian subtitles
What doesn’t get written down on a postcard to Granny. Panorama of young people travelling around the world by train.

’The Fenwoods Tell a Tale’
director: Szabolcs Mosonyi, narrator: Erika Szórády
Mosonyi Szabolcs, 2002, video, colour, 29’
Very few areas of fenland forests remain, scattered across the lowlands of the Carpathian Basin. This short film shows life in the fenwood from spring to winter. The animals search for mates and multiply. The plants, animals and the water form a closely linked ecological system. Only the luckiest and cleverest animals can survive the hot, dangerous summer. Leaves fall in September, ringed snakes, turtles and frogs dig into the ground and the fenwood retires to rest.

A MONARCHIA HAJÓRONCSAI 2. - A Streiter történet
’Wrecks of the Monarchy 2’ -The Story of the Streiter
director, screenplay: Attila Dávid Molnár, expert: Dr Tamás Balogh, camera: Attila Dávid Molnár, Zsolt Marcell Tóth, Balázs Sziklai, Enikő Kubinyi, sound: Iván Kubinyi, András Mező, music: Szabolcs Molnár, Iván Kubinyi, narrator: Gyula Szersén, collaborator: Pál Sztarenki, Enikő Kubinyi, executive producer: Lídia Bánóczi, animator: Szabolcs Pálfi, Enikő Kubinyi, producer: Tibor Dombovári, with: Dr Sándor Skripecz, László Czakó, Dr Tamás Balogh, Tibor Dombovári
ECOFilm, 2002–2003, video, colour, 28’
The Streiter, a ship of the Austro-Hungarian Monarchy which sank in 1918, was discovered by diver László Czakó off Rijeka (once Fiume). The son of the ship’s first mate, Dezső Skripecz recalls how his father’s life was linked to the Streiter. Italy denounced the Triple Alliance in May 1915. Austro-Hungarian warships shelled railway stations and lines along the Adriatic, trying to hold up transports to the front. Skripecz had already left the ship when it sank. Even lying on the sea bottom it appears a proud ship.

MOZI ZONGORÁRA - Mikrokozmosz
Movie for Piano – Microcosmos
director: Sándor Silló, editor: Jolanda Di Pol, videotechnique: Gábor Őze, music: Béla Bartók’s Microcosmos, performed by: Lóránd Szűcs and Kornél Zempléni, graphics: Eszter Terjéki, executive producer: Edit Zentai, producer: Péter Móczán
EPS Produkciós Iroda, 2003, video, black and white, 35’
Ordinary men-in-the-street appear in newsreels and documentaries too, but we don’t usually pay attention to them. Sándor Silló gathers the meeting points and incidents of history and of everyday life in the 20th century into thematic groups (e.g. Girl with a ribbon, Bicycle, Harmonicas) to the sounds of Bartók’s Microcosmos. Scenes acquire a new dimension through the music and the thematic editorship combines images and music into a story with many meanings.

MÚLT, FORMA ÉS LÉLEK- Lükő Gábor emlékére
’Past, Form and Soul’ – In Memory of Gábor Lükő
director, camera, screenplay: Péter Vékás, expert: Péter Pozsgai, editor: Gábor Zajti, music: Ágnes Szigeti, executive producer: Csilla Thuróczy, producer: Iván Lakatos, collaborator: Ágnes Heiter, Sándor Lukács, Anna Ráckevei, Lajos Pozsár, Éva Pozsár
Krónika Alkotóközösség és Filmalapítvány, 2003, video, colour, 20’
Gábor Lükő (1909–2001), after examining Hungarian ethnography and ethnology, came to the conclusion that the symbols found in folk art have a universal extension. Mankind speaks in different languages, lives under different conditions, but has a shared emotional experience and body of beliefs. Birth and death awaken the first religious feelings in primeval man, so belief and unbelief are more deeply hidden than the scientific way of thinking. Lükő made it his duty to discover extensions of Hungarian folk art which had grown dim in the 20th century and to get to the real roots of mankind by following them.

director: Ágnes Tölgyesi, camera: Sándor Mohi, editor: Andrea Tombor, sound: László Kósa, executive producer: Sára Szentmiklósi, music: Ágnes Szigeti, with: Dezső Vida, János Jantal, Éva Fridrich, Mrs Lajos Tarcsi, János Tóth
Aquamarin Film, 2002, video, colour, 73’
The number of unemployed people has risen since the liquidation the co-operative farms in the small villages of South-Baranya along the border. Határszél Ltd. was founded by 4 people in Egyházasharaszti in 1995. They bought land and machinery, took out a loan when the co-operative farm was liquidated. The forced contractors and the employees work very hard. People who didn’t dare to go into business on their own subsist on seasonal work or animal husbandry, living from hand to mouth. The farmers are defenseless: agricultural legislation and state subsidies are unreliable, the buyers usually take unfair advantage of their monopolies. They subsist somehow, because they must, but they can’t plan for the long term.

’Mutter – Mother’
director, screenplay: Miklós Gimes, camera: Pio Corradi, editor: Gion-Reto Killias, sound: Jens Peter Rövekamp, music: László Dés, György Ligeti, producer: Marcel Hoehn, with: Lucy Gimes, Miklós Vásárhelyi, Alíz Halda, Judit Gyenes, Péter Kende
T & C Film AG, Schweizer Fernsehen DRS, 35 mm, 95’, Hungarian and German language, Hungarian subtitles
A subjective portrait of Lucy Gimes (b. 1931) by her son Miklos Gimes Jr. Lucy’s peaceful childhood in Szeged was ended by the Holocaust and WWII. The young girl joined the Communist Party after 1945 and married Miklos Gimes in 1947. They both made careers, the woman as an active trade-unionist and the man as a journalist. Their son was born in 1950. Gimes broke away from Stalinism and joined Imre Nagy’s reform communist group. They were already separated by the time the revolution happened in 1956. After the fall, Gimes wanted the woman and her son to leave for Switzerland. Miklos Gimes founded a daily during the revolution and was one of the leading figures of the resistance after the Soviet occupation. He was arrested in December 1956 and executed as one of the defendants in the Imre Nagy trial. Lucy brought up his son, overcoming many difficulties. She visited Hungary again after the democratic transformation.

’Big Round Forest’
director: György Farkas, editing: Melinda Gálfi, camera: István Dakó, editor: Judit Ecseri, executive producer: Attila Budai, with: András Nagy, István Köllő, Sándor Marosi, Előd Parászka
Duna Television, 2002, video, colour, 30‘
The movie presents the magical world of its Transylvanian characters: the stalactite cave guard, the story-teller, the forest ranger and the forest-loving boy. To accommodate to civilized society is the art - says the tale-teller. The blessed effect of nature is the most obvious for the children. If they can escape from their concrete houses into nature, how bright and apple-cheeked they become!

’Nahte Introduces János Vető’
director: Marcell Iványi, camera: Csaba Farkas, Zsolt Tóth, editor: Mária Czeilik, sound: Rudolf Várhegyi, executive producer: Nóra Siklósi, producer: György Durst, with: János Vető
Duna Műhely, Kép-Árnyék, no year, video, black and white+colour, 26‘
This portrait was made on the occasion of the retrospective exhibition which opened in the Mai Mano House in May 2003. János Vető (1953) is a “self-made” photographer, musician, poet and painter who started to take photos in the 60s. He acted in performances as the well-known figure of alternative artistic life, was a member of the Trabant band and has been living in Sweden since 1990. Together with his painter wife he sculpted a 360 meter-tall statue for an open-air exhibition on the lake-shore. When the statue was vandalized, he took a series of photos of it, wrote a poem about the photos, set it to music and performs it.

NE TEMESSETEK EL! - Petőfi a szlovákoknál
’Do Not Bury Me – Petőfi with the Slovaks’
director, editing: János Bencsik, camera: Zsolt Szél, editor: Katalin Csányi, executive producer: Zoltán Pigniczki, with: Jozef Havrila, Mrs György Gmoser, Helena Kostrová, Mrs Kispál Dr Ilona Lucza, Dr Anna Gyivicsán
MTV, 2003, video, black and white+colour, 50‘
Sándor Petőfi’s native language was Slovakian, nevertheless he is known as the most Hungarian of poets. The Slovakian minority in the lowlands has a different relationship with the Hungarian nation to those from Northern Hungary. Many lowland Slovaks joined the war for independence in 1848. Petőfi’s poems were translated by Slovakian teachers and Lutheran chaplains after the failure of the revolution and handed out in schools, in spite of the danger of punishment. The explanation: to become a Hungarian was the only way to fight Austrian oppression. The poet himself never talked about his original nationality, but Petőfi has a living cult in the circle of Slovaks in Hungary.

’Fourth Dimension’
director, screenplay, editor: Gábor Dénes, expert: Andreas Rösseler, Thomas Reiber, Jhan Wurster, Ulrich Haeff, camera: Gábor Szepesi, Gábor Dénes, executive producer: Ibolya Kecse Nagy, 3D animation: László Ördögh, with: Dr Judit Farkas, László Ördögh
Dega Film Stúdió, 2003, video, colour, 43‘
Parallel stories of László Ördögh, designer, information specialist, software developer, inventor, and Dr Judit Farkas, orthopedic surgeon, inventor. Ördögh has been working in the ICIDO Institute in Stuttgart (Germany) for 10 years. He creates virtual realities, replacing the models used in contemplation. Dr Judit Farkas (Budapest) invented a unique instrument with the help which motion can be modeled in virtual space. The method would make it easier to treat diseases of the organs of locomotion. While Ördögh has got the ideal working conditions, Farkas has only been able to patent her invention since 1989.

‘No Mercy in this Hell on Earth’
director: Ádám Csillag, camera: Gábor Halász, Károly Markert, screenplay: András Simonyi, producer: Péter Nyeste, with: Mónika Révai, Erzsi, Erika, Natasa
Aster Film, 2000–2002, video, colour, 79’
Erzsi, Erika and Natasa are teenagers forced into prostitution by their boyfriends. Natasa was disobedient and wanted to run away. The pimps punished her severely, making the other two girls torture her so that they wouldn’t go to prison. It is hard for Natasa and the girls to give evidence against the guys: they are afraid for themselves and for their families. The police investigate, the law lays down the penalties, but there is no organization to prevent such cases.

NYOLCLÁBÚ BUCKALAKÓK - A homokvilág pókjai
‘Eight-legged Mound-dwellers - Spiders of the Sand World’
director, music: Judit Moldoványi, camera, producer: Iván Lakatos, narrator: Károly Mécs, collaborator: Róbert Dankovics, János Eichardt, Attila Horváth, Csilla Thuróczy, Irén Tóth, Béla Üveges
Krónika Alkotóközösség és Filmalapítvány, 2003, video, colour, 21’
The spiders got their name from the Greek princess, Arachne, who challenged Pallas Athene to a weaving competition. The film presents 9 of the over 200 species of spiders living in the Kiskunsag.

’György Oláh Chemist’
(A Corvin-lánc díjazottjai series)
director: Péter Havas, screenplay, editing, reporter: Gyula Darab, camera: Virgil Szilágyi, István Haines, executive producer: István Nedeczky, producer: Gábor Garami with: György Oláh, Mrs György Oláh, Csaba Szántay, István Horváth T., Aniszfeld Robert
Cinema-Film, 2003, video, black and white+colour, 56’
For György Oláh chemistry was a rational choice, but he soon fell in love with it. He became Géza Zemplén’s assistant and joined the Chemical Research Institute of the Hungarian Academy of Science in 1954. He left Hungary with the family in 1956 and worked in Sarnia (Canada), returning to scientific life in 1965 as a professor at the Western Reserve University of Cleveland. They moved to Los Angeles in 1977, where he leads the Locker Research Institute of Southern California University. His field of research, hydrocarbons, is particularly topical, because it is increasingly urgent to discover new sources of energy. He won the Nobel Prize for chemistry in 1994 and still teaches and researches: as he says, he devotes himself to his hobby in spite of his advanced age.

The Master of Homicide
director, editing, executive producer: Sándor Cs. Nagy, reporter: György Kerényi, camera: Sándor Cs. Nagy, Barbara Spitzer, editor: Szilvia Bernáth, Nóra Szilágyi, Nándi Hevesi, Szabolcs Tóth Zs., sound: István Pergel Jr., producer: György Durst, with: András Bródy, Vilmos Csányi, Lajos Pressing, László Végel, Gábor Karátson
Duna Műhely, Mediawave, Milarepa verzió, 2003, video, colour, 75’
With the help of archive and television footage and a group of intellectuals: a writer, an ethologist, an economist, a Buddhist teacher, a professional soldier and an enlisted man this film tries unravel the reason for wars. Is massacre really necessary? The Yugoslav and the Iraq wars were the sad occasion for the making of the film.

ÖRÖKSÉG - Egy halász története
Inheritance - A Fisherman’s Story
director, screenplay, editing, reporter: Péter Hegedüs, camera: Péter Hegedüs, Attila Csoboth, György Réder, Zoltán Török, Mátyás Erdélyi, Jason Hargreaves, editor: Tony Stevens, Jamie Scott, sound: Péter Hegedüs, Barbara Elekes, Balázs Mészáros, music: András Monori – Arcolor Trió, producer: Péter Hegedüs, Attila Várai Jeges, with: Balázs Mészáros
Australian Film Finance Corporation, Soul Vision Films, 2003, video, colour, 74’
Balázs Mészáros’ family has been fishing in the river Tisza for over 200 years. In December 2000 120 tons of cyanide leaked into the river from storage tanks belonging to the Australian-Romanian gold-mining firm Esmeralda, in the worst man-made ecological disaster in Eastern Europe since Chernobyl. Balázs and his friends lost their livelihoods. His acquaintances are resigned to it, but Balázs wants to find out who caused the catastrophe. The director helps him to get to the source of the pollution in Romania, and then to Australia. Balázs writes a book recording the fishermen’s lifestyle, his own desperate situation and his struggles. He knows that his only chance of compensation lies in going to court, and he has persuaded his mates to support him.

’The 50th Venice Biennale’
director, camera: András Sólyom, editing, reporter: Judit Kopper, editor: Olga Polgári, executive producer: Márton Tóth
MTV, 2003, video, colour, 25’
The 50th Venice Biennale (2003) was organized by Francesco Bonami, with the theme of Dreams and Conflicts. 63 nations were represented in the one of the most dignified exhibitions so far. Hungarian artists sculpted a bronze body for the 3,000-year-old bust of Nefertiti. The film focuses on the American Fred Wilson, the Israeli Michal Rovner, the Russian pavilion, the Pole Monika Soslowska, the Ukrainian Viktor Sidorenko and the Luxembourg pavilion, which found most favor with the jury.

Fifty-six Martyrs
director: Szilveszter Siklósi, expert: Tibor Szenti, camera: Róbert Kiss, editor: Attila Tóth, executive producer: Béla Szalay producer: Dr Erzsébet Szilágyi, with: Mihály Herczeg, Tibor Szenti, Dr János Lázár, Mrs Flórián Hegyi
Fórum Film Alapítvány, without a year, video, black and white+colour, 54’
After WW I and the subsequent revolutions the situation was confused in Hódmezővásárhely, too. The Romanian army wanted to occupy Hungary up to the line of the Danube. Amid the general terror a man with an uncertain existence joined the Romanian army, appointed himself second lieutenant and rounded up the rich farmers. Most of them escaped by paying substantial ransoms; men were picked up in the streets and executed instead of them. The victims found themselves side by side accidentally, but the memories were taken over by the different historical currents. Local historian Tibor Szenti discovers what really happened.

’Pasurj – Steps’
director: Judit Keserű, camera: Péter Dömötör editor: Krisztina Marosi, sound: Tibor Belovári, executive producer: Gábor Maitz, music: Ágnes Szigeti, with: Károly Kiefer director, the teachers and the students of the District Elementary School of Csap
Duna Television, without year (2003), video, colour, 40’
The District Elementary School of Csap provides free board and lodging as well as education: the school bus takes the children in on Mondays and home to their families on Fridays. 70% of the parents are unemployed, and though the separation is hard most of the parents and children appreciate the invaluable help.

Harmony or Living Together… 1-2’
collaborator: György Aliczki, Béla Czövek, Tivadar Fátyol (consultant), Edit Kőszegi (director), Gyula Kőszegi (camera), Mária Rigó (editor), Norbert Solymosi (executive producer), Péter Szuhay (director), Gyula Traub (sound), producer: Tamás Fehéri, Dr Erzsébet Szilágyi, with: the inhabitants of Szendrőlád, Blanka Kozma, Tibor Derdák
Fórum Film Alapítvány, 2003, video, colour, 2 x 195’
Szendrőlád lies on the river Bódva in Borsod-Abaúj-Zemplén county. The majority of the village population are Roma. The title of the film has two meanings: harmony in part-singing and coexistence. This piece of sociography discovers the difficulties and advantages of living together, presenting in detail the inhabitants and their activities, from mushroom picking through work in the bleach factory to pigsticking.

’The Rat’
(Nagyvárosi természetbúvár series)
director: Tamás Seres, camera: András a. Szőke, collaborator: István Árvai, János Csáki, Anna Éltető, Balázs Gróf, Katalin Horváth, József Kovács, Judit Mahler, Péter Sarkadi, Endre Sík, Tamás Torma, Tibor Tóth, György Vass, narrator: László Szacsvay, producer: Péter Zakár, with: Gábor Szerényi
FiVinvest, 2002, video, colour, 13’
“An extremely unpopular animal, putrid, the stinking monster of the sewers - we are all brought up in the knowledge that it’s disgusting…”. This ironic, witty nature film is based on Róbert Winkler’s Big City Naturalist; the episode about the rat aims to contradict “received wisdom”.

director: Andrea Vészits, camera: József Lőrincz, with: Dr Tamás Pick
Objektív Studio, 2003, black and white+colour, 56’
The Pick Salami Factory was founded by Mark Pick in 1869. At the time of the anti-Jewish laws and WWII class solidarity still worked (Jenő Pick could hide in the flat of his Nazi friend), but not under communism (when he was arrested his good friend, the deputy commissioner of the Szeged police, was unable to save him). The factory was nationalized in 1948. The central figure of the film, Dr Tamas Pick, studied in Geneva and became a psychologist, moved to Australia and later to the States. After the democratic transformation he sued the factory for unlawfully using his name, but lost all the cases. He says the communist state did him a favor, because he never wanted to become a salami maker. He considers the continuity of bourgeois traditions, which emigration made possible, as the most important thing in life.

’The Puddle’
director: Zsuzsa Méry, expert: Dr Éva Ács, Dr Tihamér Kiss Keve, Dr György Kriskó, camera: Róbert Kiss, Flórián Góczán, editor: Gabriella Koncz, sound: Gergely Hornos,
music: Erzsébet Darázs, executive producer: Ibolya Kecse, with: Balázs Mucsi, Sándor Mucsi Jr., Arthur
Mokép, without a year, video, colour, 17’
Life moves on in the courtyard puddle: single-cell organisms, plants and tiny, unidentifiable creatures live in symbiosis. When the door-keeper sweeps the puddle away, life ends up on the concrete sidewalk.

A PROFESSZOR - Dr Petrusán György portréja
’The Professor – Portrait of Dr György Petrusán’
director: István Kreszta, collaborator: Stefan Crâsta, Katalin Csányi
MTV Szegedi Körzeti Stúdió, video, black and white+colour, Romanian language, Hungarian subtitles, 11’
György Petrusán (b. 1938), literary historian, a leading figure among Romanians in Hungary, was born into a peasant family in Méhkerék. He graduated in Hungarian and Romanian grammar and literature at Eötvös Lorand University in 1963, has been teaching in the Romanian Grammar and Literature Department of the Juhász Gyula Teacher Training College of Szeged since then, as head of department since 1980. The subject of his research is the history of Romanian civilization and literature in Hungary and Transylvania. He feels responsible for the Romanians in Hungary, believes that the destinies of Romanians and Hungarians are interwoven and that both nations have an interest in living peacefully with each other.

R.B. KAPITÁNY - Radics Béla
Captain R.B. – In Memory of Béla Radics
director: András Kisfaludy, story editor: Balázs Fakan, camera: Tamás Nemescsói, editor: Beáta Eszlári, sound: György Blaskó, Péter Szűcs, collaborator: Géza Balkay, Balázs Fakan, with: Gyula Deák Bill, Attila Danyi, Tamás Tóth, Lajos Som, Ferenc Balázs, András Kisfaludy, Ilona Miskolci, Egon Póka
Munkart Bt., without a year, video, colour, video, colour, 81’
Béla Radics (1946–1982), guitarist, singer and composer was considered the Hungarian Jimi Hendrix by his fans. After his early bands (Sankó, Atlantisz, Pannónia) he founded Sakk-Matt, the first Hungarian progressive blues band, in 1968. He and his musicians introduced rhythm and blues to the Hungarian beat generation and his later groups (Taurus, Tűzkerék) were equally successful. He was persecuted and abused by the cultural authorities, never had a disk released. His brilliant guitar skills are preserved on one disk.

A REMETE REMEKE – avagy Lakatos Géza kalandjai
Hermit’s Masterpiece
director, editor: Márton Szirmai, camera: Gábor Békési, music: Zoltán Végső, Grencsó Surprise Kollektíva, Irén Lovász, Ilona Hollós, producer: György Pálos, with: Géza Lakatos, Erzsébet Ombódi, Enikő Lakatos, Gábor Lakatos, Mónika Antal
Közgáz Vizuális Brigád, 2003, video, colour, 52’
A personal, ironic portrait of economist Géza Lakatos, who went into business in 1984 producing office supplies. After 10 years he left everything behind and moved to a little Swabian village, where he started to build a retirement home and a complex of apartments. The retirement home is ready, but can’t make profit without a license to operate. Géza’s first wife moved into an apartment in the complex. His second wife soon moved in nearby with the children; their marriage broke down over arguments about the retirement home and the apartments. The latest wife, Ági, had a daughter and followed the other two into the complex. The director finishes up the film to set Géza an example.

RHYTHM + JEWS - A Klezmatics Magyarországon
’Rhythm’n Jews – The Klezmatics in Hungary’
editing: László Távolodó Marton, collaborator: Zita Balog (camera), Zsolt Bredár (camera), Totovics Komjáti (camera, editor), László Vajgel (camera), Zoltán Vass (camera), producer: György Durst, with: Klezmatics (Lorin Sklamberg, Frank London, Matt Darriau, Paul Morrissett, David Licht, Lisa Gutkin, Alicia Svigals, David Krakauer)
Kép-Árnyék, Cinegraph, 2002, video, colour, 56’
A concert film about the world-famous klezmer band, the Klezmatics’ 2002 show. The members feel close to the roots of their music in Budapest, because originally the klezmer was an Eastern European instrumental Jewish dance played at weddings. (The film includes excerpts from earlier Budapest concerts.)

’Rózsa Street’
director: Éva Pataki, camera: Gábor Halász, editor: Kata Juhász, sound: István Sipos, producer: Réka Sárközy, with: Márta Mészáros, Miklós Jancsó, Péter Bacsó, Frigyes Gödrös, Ferenc Grunwalsky, Ágnes Heller, Katalin Jancsó, György Konrád, Juli Orbán, Anna Sárdi, Valéria Wagner
1956-os KHT, 2003, video, black and white+colour, 63’
Miklós Jancsó’s and Marta Meszaros’ flat functioned as a general meeting place. They moved to Rózsa Street in 1967. The circle of friends recalls their social life, which not only represented an important part of Hungarian cultural life, but also reflected a broad international outlook: French, Russian, Polish and Italian links connected the group to the mainstream of European intellectual life. They evoke their readings and movie experiences, battles over films, they tell anecdotes and can’t see the difference between the problems of film-making then and now: in the old days you had to compromise with politics, now it’s with business.

Rubber Side Down
director, camera: Tristan Verboven, camera: Sebastian Selymes, Kuldeep Kerr-Upal, David Barton, Dalia Maron, editor: Péter Politzer, music: Röyksopp, Széki Kurva, Wildchild, Gustav Brom, Jozsef Lakatos Hungarian Gypsy Orchestra, Lester Flatt and Earl Scruggs, producer: Catherine Herendi Owl, András Muhi
Inforg Stúdió, 2003, video, colour, English language, 27’
Evocative report, cut with music, on the 9th Bike Courier World Championship in Budapest in 2001.

SAMSZÁN CSALÁD - Keresztény és muszlim együttélés egy házasságban
’The Samsan Family – Christian and Muslim Coexistence Inside a Marriage’
collaborator: László Letenyei, Vera Bendl, Szabolcs Barakonyi, expert: Dr Zsolt Rostoványi, sound: Zoltán Keresztes, producer: István Kardos, narrator: Szabolcs Barakonyi, Enikő Kulcsár, László Letenyei, Adél Zsobrák, with: the Samsan family
Duna Television, without a year (2002), video, colour, 56’
The film examines the question of whether the Christian and Muslim civilizations can coexist. Györgyi and Abdul have been married for 23 years, they have 3 children. In the beginning they lived in Hungary, now in Yemen. Abdul is unable to live in Hungary, Györgyi is unable to settle down in Yemen. She wants to bring the children to Hungary, he says the children must choose.

collaborator: György Lakatos (editor), Krisztián Molnár (music), András Pintér (camera), Zsuzsanna Szabados (director), András Vega (music)
ANZSU, 2003, video, colour, 32’
Sándor didn’t want to join the army at the time of the democratic transformation. He moved to Germany and after some years in Berlin emigrated to Fairyland. The film deliberately leaves the exact location shrouded in mystery. He devotes his days to meditation and painting, lives alone but doesn’t feel lonely.

SE KÜNN, SE BENN... - Erdély és Moldva határán
’Neither Outside, Neither Inside… - On the Border of Transylvania and Moldova’
director, camera: Sándor Mohi, reporter: Vilmos Tánczos, editor: Judit Kollányi, sound: Vince Kapcsos, executive producer: Miklós Szederkényi, producer: Sándor Buglya
Dunatáj Alapítvány, 2001–2003, video, colour, 55’
Kostelek lies in the Eastern Carpathians, embraced by mountains crowned with pine forests. It was founded by Székely folk who escaped from the Mádéfalva rebellion into the hills 230-240 years ago. The people who took refuge here didn’t intend to settle for ever in Moldova. If they were pursued, they only needed to step over the brook to cross the border into another country. Nowadays the Romanians can speak Hungarian as well as the Hungarians speak Romanian. The film tries to investigate how the small village population is divided up along religious lines.

SÉTA AZ ARANYUTCÁKON - Kárpátaljai cigánysors
’Walking in the Golden Streets – the Fate of the Roma in Sub-Carpathia’
director, camera, editor: Csaba Högl, producer: Norbert Maxim, music: Iván Folk, Amaro Del band, with: Hajnalka Lakatos, Magdolna Rubec, Varvára Szpirova, Mária Seprös, János Öreg
Höglfilm, 2003, video, colour, 50’
The film shows how the Romas live in Sub-Carpathia. The Sub-Carpathian department of the Eastern European Mission has been working since 1996. In the beginning they distributed food parcels, now there are intellectual and charitable workshops too, hoping to change the way of thinking of the new generation. After the collapse of the Soviet Union, the young people can’t see values or hopes. For the Roma, unemployed and living from day to day at the very bottom of society, the Mission is the only hope of escaping from the hopelessness of despair.

’Fate Wheel’
director, camera: Gábor Dénes, expert: Zoltán Pólya, Margit Komaság, Dr Mária Csere, Magdolna Csurik, Péter Kertész, István Lakatos, Erika Törzsök, executive producer: Ibolya Kecse Nagy, music: Eszter Ganyi, János Lakatos “Ruszin”, Krisztián Horváth, Elek Kiss Sr., István Kiss
Dega Film, 2003, video, colour, 23’
Statistics show that a Roma child born in Hungary in 2003 starts life with twenty times more disadvantages in every field than his or her non-Roma peers. The film tries to bring this statement to life with images of real life (school, kindergarten, streets, flats). The counterpoints are the music (cembalon, guitar, singing) and dances.

‘Shooting at a Target in Thick Fog – Dezső Váli’
(Tálentum series)
collaborator: Gábor Dettre (director), Éva Aranyosi (executive producer), Attila Keresztes, Jenő Koltai, Ferenc Pap, Ádám Prim (editor), Olga R. Takács, Aranka Ugrin
Duna Television, 2003, video, black and white+colour, 29’
Dezső Váli’s painterly reckoning: born in 1942, graduated in 1967. First exhibition in 1969. 18 exhibitions abroad out of a total of 44, has done 1521 oil-paintings, 782 of them destroyed. 98 of his pictures are in public, 611 in private ownership. Has won 33 prizes and 1 award, has 2 children. The sum total is 8987. Is this enough? – he asks. He needs a whole life to understand how he lives.

’Magda Szabó and Für Elise’
director: Mária Vizi, camera: Gábor Szepesi, editor: Anina Szirti, sound: Balázs Balogh, executive producer: Judit Ordódy, with: Magda Szabó, Anna Györgyi, Julcsi Sipos, Anikó Nagy, István Pölöskey, collaborator: Andrea Kalocsai, Tamás Varga, Kálmán Horváth, Lili Fekete, Fanni Zahár
Duna Television, without a year, video, colour, 38’
Magda Szabó started writing because there are feelings that remain forever, but can only be recorded through art. Her latest novel’Für Elise’ is dedicated to her friend Cili, who grew up with her but died young. The girl was a “Trianon orphan” from Zenta. The writer talks about her book and Cili and some episodes from the novel are brought to life.

SZAMIZDATOS ÉVEK I-II. - „Az utókor hajlamos elfelejtkezni a közkatonákról…” - A Beszélő című szamizdat folyóirat
’Samizdat Years 1-2 – “Posterity is Likely to Forget the Footsoldiers…” - The Samizdat Beszélő’
director, editor, editing: János Gulyás, reporter: Ádám Modor, music: Tibor Grei, Kontroll Csoport, with: István Orosz, Ádám Modor, József Horváth, Ferenc Kőszeg, Imre Pozsgay
K&G Film, 1997–2003, video, black and white+colour, 92+105’
Contributors to the samizdat periodical Beszelő (Speaker) published between 1981 and 1989 recall all the difficulties of producing an illegal journal. József Horváth, Section Head of the State Security under the Ministry of the Interior and Imre Pozsgay, representing the authorities, report on the contributors’ and the circle’s activities. The “footsoldiers” feel that they have been neglected since the regime changed, and believe that the new political elite, the former opposition, rose to power thanks to their efforts.

SZELÍDVÍZORSZÁG - Részletek dr. Csizmazia György Fehér-tói madarak című könyvéből
’Gentle Water Country – Selection of Dr György Csizmazia’s Book’Birds of the Fehér Lake’
director: Károly Koroknay, editing: Éva J. Mező, expert: Gábor Bakacsi, József Puskás, camera: Géza Simor, István Zöldi, producer: Dr Sándor Buglya, narrator: László Helyey
Dunatáj Alapítvány, 2003, video, colour, 40’
“If you would see and hear the secrets of nature you must quietly mount the wooden steps of the lookout at Lake Fehér. With a good pair of binoculars and an open heart you can experience all the beauty of the evening music of the cranes and be touched by eternity.” Thus reads the inscription on the tomb of Dr György Csizmazia (1943–2000), biologist, associate professor, “general servant” of Lake Fehér, “Saint Francis of Szeged”. The film presents the world of the lake near Szeged from spring to winter, using Csizmazia’s own poetic words.

SZEMBESÍTÉS - Adalékok egy pogrom természetrajzához
1. Boldogító élmények
2. Tehetetlenek voltuk
3. Hagyjuk a meséket
’Confrontation – Additives to the Natural History of a Pogrom’
1. Happy Experiences
2. We Were Powerless
3. Leave the Tales
director, screenplay: Gyula Gulyás, camera: László Árva, Csaba Ferenczi, editor: Gabriella Koncz, music: Sándor Balogh, Sonoton Music Library, with: Károly Király, Dr Előd Kincses, András Sütő, Attila Albert, Emese Körmöczky, Smaranda Enache, István Káli Király
Bodográf, 1996–2001, video, black and white, 58+60+60’
Marosvásárhely, 1990. Following the euphoria of the Romanian revolution in December 1989, Hungarian demands for their own schools were already received with resistance in February. The celebration of March 15 aroused fury among the Romanian general public. Leading Hungarians in Marosvásárhely were forced to resign after a demonstration against them on March 19, then the farmers from the Görgény valley besieged the offices of the RMDSZ. The authorities did nothing to keep order, and the result was 6 dead and many wounded (among them András Sütő). The participants in the conflicts recall the events.

’Film Week Flash’
collaborators: Miklós Győrffy (reporter), István Wisinger (reporter), Jenő His (editor), Tibor Klöpfler (camera), Zsuzsanna Hollósi G., Dénes Szekeres (executive producer), Zoltán Bonta (director, camera), with: Tamás Banovich, György Durst, Zoltán Fábri, Gábor Ferenczi, Frigyes Gödrös, György Illés, Zsolt Kézdi-Kovács, Iván Márk, György Szomjas, Pál Zolnay
Videoplus, 2003, video, colour, 32’
The Hungarian cinema in 1986 and nowadays. Prize-winners and participants of the 18th Hungarian Film Week recollect the public life of the cinema after 20 years, reckon with the passage of time and evaluate the possibilities of today.

A Journey to Find Fortune
director: János Litauszki, editing, reporter: Márta Józsa, collaborator: János Zelki camera: Károly Markert, Gábor Pertics, editor: Károly Szalai, László Vajgel, sound: Sándor Faludi, executive producer: Attila Kucsa, with: Árpád Ács, Tivadar Domonkos, Ödön Hohman, József Kusz, József Schneider, Zsolt Várbíró
Master Pro, 2003, video, colour, 50’
25 Hungarian miners went to Tabliza (Spain) in May 2001, after being unemployed for 2 years. They had to travel 3,000 km to find a job and support their families. All of them missed their relatives and suffered from homesickness. They didn’t mind the hard work, because they were paid the European minimum wage, which they would never have received at home. Some of them want to get home at any price, others plan to reunite their families in Spain.

director: Béla Szobolits, camera: Sándor Mohi, editor: Lilian Uchlaczki, narrator: Andrea Szobolits, music: Tibor Márkus, producer: Annamária Körmendi, with: János Pámel, János Fiser, Mrs Lajos Antal, Lajos Antal, Mrs Géza Juhász
Golden Conch, 2003, video, black and white+colour, 96’
Southeast of Belgrade, on the left bank of the Danube lie the most southern areas of Europe inhabited by Hungarians. They were resettled from Moldova to Bukovina and because of overcrowding moved en masse in 1883 to the region of the Lower Danube. The film focuses on the fate of the 1246 inhabitants of Székelykeve. Many of them went to work in Australia in the 60s, another wave of emigrants left during the Yugoslav war in the 90s. They were disappointed in the Hungarian government, which refused to give them the dual citizenship that would have enabled them to come and go freely.

’Secrets Locked in Rooms’
director: Lídia Szádvári, camera: András Boldizsár, editor: Gabriella Koncz, sound: Gergely Hornos, executive producer: Margit Pákozdy, producer: Tamás Fehéri (in mourning edge), Dr Erzsébet Szilágyi
Fórum Film Alapítvány, 1999–2003, video, colour, 32’
Three women speak about how their husbands or partners abused them and their children. The authorities don’t help, because the police cannot officially intervene in family quarrels. The abused children’s interests were ignored by the court of guardians, which recommended care in state institutions as a’solution’. The NaNe Association for abused women tries to publicize the issue through demonstrations with speeches and “mute witnesses”: murdered wives’ stories on life-sized red cardboard figures.

Freedom of Broadcasting
director: Veronika Berki (Attila Magyar n.), camera: Péter Dömötör, Gábor Váradi, editor: Sándor Kádár, sound: Vince Kapcsos, with: Antal Vida, Attila Magyar n.
arSPoint, 1998–2002, video, black and white+colour, 55’
Attila Magyar (1958–2003) directed this portrait of ichthyologist Antal Vida before his tragically early death. Vida thought the natural disaster caused by the deviation of the Danube by the Slovaks wasn’t given enough coverage in the official media. He started broadcasting: Tilos Radio’s’Voice of Nature’ gave him a chance to publicize his opinions. He moved to Tordas and knocked together a one-man nonstop station. Radio Tordas broadcasts from one end of the village to the other. Vida doesn’t hide, though he could be sent to prison for pirate broadcasting.

’The Wood-Worm Must Stay in the Wood’
director: András Dér, Klára Muhi, reporter: Klára Muhi, camera: András Dér, editor: Thomas Ernst, sound: Gábor Bányai, with: Tibor Gencsi, Péter Dobai, Mrs Mihály Nagy, Mátyás Hargittay, Mrs Tibor Gencsi
Inforg Stúdió, 2003, video, black and white+colour, 59’
A portrait of the leading character in Dezső Magyar’s film Punitive Expedition (Büntetőexpedíció, 1971). The ex-scion of Kisléta castle in Szabolcs county, Tibor Gencsi, was only interested in guns and horses. He became a soldier, fought and was decorated in the Don campaign. His parents were interned in 1949, he spent 6 years in prison. His sisters left the country, Tibor did not. He became a groom in Dömös in 1969, where there was a wonderful stud-farm and racecourse. Today he is bitter today, because everything that mattered to him has collapsed: the castle in Kisléta was rebuilt, the family crypt is falling into ruins and he can’t afford to repair it. The genealogical tree has been sold by an antique dealer but Tibor Gencsi of Encs and Érmihályfalva has the family without the tree.

’Native Village, Budapest – Plaza People’
director: Gábor Zsigmond Papp, expert: András Dési, editing, reporter: Katalin Hegyes, camera: Balázs Dobóczy, editor: Szilárd Nagy, sound: Csongor Fazekas, music: René Aubry, with: Miklós Vörös, Éva Tessza Udvarhelyi
Bologna Film, 2002–2003, video, colour, 48’
Malls are designed by sociologists to stimulate consumers’ desires: for example, you have to go past all the shops to get to the restaurants on the top floor. The target group is, above all, the young and wealthy. In Europe malls are a part of city culture, in the States they are built outside town. The film presents some salesgirls and shoppers and illustrates general truths with specific images. An old couple from Cluj wants to buy a teddy bear for their grandchild. They are scoffed at in several shops, but they don’t get flustered - they stay calm and natural even in these alien surroundings.

The Teacher and the Biz
director, camera, editor: Péter Pál Tóth, editing, reporter, producer: Zoltán Brády, music: Tibor Grei, with: Éva Pergel, Imre Unger, Dr Attila Kenyeres, Dr Tamás Minzel
Kapufilm Stúdió, 2001–2003, video, colour, 60’
Éva Pergel started welding plastic when she was on maternity leave and continued when she went back to teaching. She earned a month’s salary in one night. Since her husband was a teacher too, every bit of extra income was useful. They built a house in 1979. The trouble began after the democratic transformation, when she had 300,000 forints stolen from her. She took out a loan from some acquaintances, promising a high rate of interest. She ended up with over 100 million forints of debt and threats to her life. The attorney and the detective say she will go to prison. But the psychological evaluation decides that Éva is not a criminal: she is merely a casualty of the political transformation.

Go and Make Disciples of All Nations – Matthew 28.19
director: Tivadar Fátyol, collaborator: Edit Kőszegi, Gyula Kőszegi, Norbert Solymosi, Ágnes Szőllősy, Péter Szuhay, Gyula Traub, with: Gábor Iványi, Zoltán Szalay, Márk Király József, Bari, Toso
Fórum Film Alapítvány, without a year, video, colour, Hungarian, Roma and English language, Hungarian subtitles and dubbing, 51’
About the Roma evangelization in Hungary. Roma priest Zoltán Szalay is introduced, we glimpse the life of the SEKINA Christian Congregation and the Saint Philomena Community. We see Roma missionaries at work in Romania and Germany, believers report miraculous cures. Gábor Iványi, a Methodist clergyman, believes the ten million Roma should have a Roma cardinal near the Pope.

A TEMPLOMDOMBTÓL A MŰCSARNOKIG - Pillanatok a szentendrei Vajda Lajos Stúdió történetéből
’From the Church Hill to the Műcsarnok – Moments from the History of the Lajos Vajda Studio of Szentendre’
director: Tamás B. Farkas, editing: Gabriella Kernács, collaborator: Tihamér Novotny, camera: Tamás Nemescsói, Zoltán Becsy, Sándor Lukin, István Szegedi, Gábor Váradi, editor: Ágnes Jeszenszky, sound: János Zentay, music: A. E. Bizottság, INAS, narrator: Péter Vallai, with: László fe Lugossy, István ef Zámbó, János Aknay, Gábor Matyófalvi, András Wahorn
MTV, 2003, video, colour, 53’
The Lajos Vajda Studio was founded in 1971, but the story began in 1968 with the first outdoor exhibition in Szentendre. After arrests and slanders they got a cellar in 1974. The members were expected for “bloodily funny and impudently serious opera”. They created their own world against the hypocritical and mean real one. The organic parts of the activities were the Bizottság band and the performances. Autonomous artists worked together as free men. After they became successful, the studio collapsed and now the members construct their life-works on their own.

Grandmother Teri
director, camera: Ágnes Sós, editor: Péter Sass
CineArt, 2003, video, colour, 56’
Granny Teri has been helpless for 2 years, looked after by her daughter. The old lady’s reason is becoming clouded, she seldom knows what is happening to her. She must be diapered, bathed, fed, dressed and constantly needs attention at night. Her daughter is lonely and exhausted by being permanently on call, so she moves her mother to a retirement home, where granny Teri dies very soon.

‘Writing Wills – Szekler Nobles’
director, editing: István Szakály, expert: Kinga Tüdős S., camera: Tibor Bucsek, editor: Lilian Uchlaczki, sound: Balázs Balogh, narrator: Tamás Végvári, music: László Herczeg, executive producer: Miklós Szederkényi, producer: Sándor Buglya, with: Tibor Kálnoky, Csaba Apor
Dunatáj Alapítvány, 2003, video, black and white+colour, 52’
Székely nobles used to write their wills according to well-established traditions. As in the rest of Europe, the documents were valid only if two witnesses verified the property and the testator’s healthy state of mind, or the testator wrote the document with the own hands and affirmed it with his seal. The film presents the remarkable wills and a short history of the families concerned, especially the Kálnokies and the Apors.

TISZTÁN, HA LEHET… - Nóra filmje
’Pure Please… - Nóra’s Film’
director: Gábor Ferenczi, editing: Ágnes Sós, camera: Gábor Halász, András Petróczy, editor: Gábor Ferenczi, Thomas Ernst, sound: Antal Déberling, executive producer: István Major, producer: Gül Togay, István Major
Intense Film, 2003, video, colour, 38’
Nóra studies IT. She is a drug addict, using more or less each day. Her life is a constant battle against addiction. She meets Robi and wants to start a family. She finds a job, moves to Székesfehérvár. She is unable to keep her promise to Robi and give up the pills. The crew has been following her battle against drugs since 2001.

’Survivors – Feedback’
director: Pál Wilt, camera: János Gulyás, editor: Miklós Antal, sound: Elek Kőrösfalvy, Péter Laczkovics, Zsolt Spitzer, executive producer: József Czencz, Ákos Pesti, producer: István Dárday, with: Zoltán Notka, Béla Deme, Gábor Deme, György Kosik, József Takács
Phoenix–MIT, Budapesti Iskola, 1986–2002, video, colour, 81’
Starting in 1986–1987 in the former “Red Csepel”, the film focuses on some families’ everyday life, work, living conditions and future prospects. They were visited again after an interval of more than 12 years. The democratic transformation changed all their lives. The bankruptcy, privatization and disintegration of the Csepel Iron and Metal Works affected them in different ways. We gain an insight into the lives of the losers and winners. The past is revived in newsreels and archive footage.

TÜKÖRKÉPEK - Ludwig Rohbock nyomában
Mirror Images – In the Footsteps of Ludwig Rohbock
director: Ferenc Komjáti, László Lugosi Lugo, screenplay: László Lugosi Lugo, camera, executive producer: Ferenc Komjáti, editor: Kornél Szilágyi, producer: György Durst, music: Yonderboy, with: Miklós György Száraz, László Lugosi Lugo, Beatrix Basics, Balázs Nagy
Duna Television, Duna Műhely, 2003, video, black and white+colour, 31’
Photographers László Lugosi Lugo and Balázs Nagy visited all of the places in Upper Hungary, Transylvania and modern Hungary that were drawn by Ludwig Rohbock, the mid-19th century steel engraver, for publications about the contemporary Austro-Hungarian Monarchy. The photographers endeavored to take pictures of the castles, churches and squares from the same angle as Rohbock’s engravings.

UTAZÁS A FEHÉR HAJÓN... - Vaszary János festőművész élete és művészete
’Sailing in the White Ship – Painter János Vaszary’s Life and Art
director: Judit Moldoványi, expert: Edit Plesznivy, camera, producer: Iván Lakatos, collaborator: Mária Bakó, Attila Horváth, Csilla Thuróczy (executive producer), Irén Tóth, Béla Üveges, with: Szabolcs Bede Fazekas, Péter Haumann, Péter Kertész, Erzsébet Kútvölgyi, Sándor Lukács, Győző Mihályi, István Perlaki, Tibor Szilágyi, Tamás Végvári
Krónika Alkotóközösség és Filmalapítvány, 2003, video, black and white+colour, 50’
Painter János Vaszary (1867– 1939) ran away from Hungarian academism to Munich in 1887 and to Paris in 1889. His style was scrupulously realistic and loosely impressionist. He went to Rome in 1891, then after a short stay at home returned to Paris. As a volunteer he painted soldiers in WWI. After 1920 he taught in the Art School. He deeply impressed young artists, became a leading master of the KUT (New Society of the Fine Artists), and later founded the UME (New Artists Association). His personality - like his art - had two sides: the accurate, fair philistine and the rebellious, noble revolutionary.

From Home to Home
director: Tamás Almási, screenplay, reporter: Bori Kriza, story editor: Annamária Radnai, camera: Tamás Almási, Zsuzsanna Varga, editor: László Hargittai, executive producer: István Nyári, Edit Zentai, narrator: Anna Flóri, producer: Péter Móczán, with: Dr András Harajda, Mrs Dr Harajda Nóra Jedlinszky, Dr Dezső Sándor, Mrs Dr Dezső Sándor, Szabolcs Dudás
EPS Produkciós Iroda, 2003, video, black and white+colour, Hungarian, Romanian language, Hungarian subtitles, 104’
3 couples from Romania and Ukraine, 1 photographer from Yugoslavia: ethnic Hungarians who emigrated to Hungary between 1980 and 1991. The advocate crossed the frozen Szamos river. The doctor and his wife divorced, contracted marriages of convenience and remarried in Hungary. The teacher didn’t manage to escape over the border, she resettled officially. The photographer was escaping from the Yugoslav war. All of them must start again from scratch in the “mother country”, battling with the natives’ ignorance and rejection.

’Neverending Story’
director: Pierre Herman, László Pesty, editing: Márta Bagi, camera: Sándor Várkonyi, Attila Poór, Attila Király, editor: Zsóka Erdélyi, Ferenc Fekete S., executive producer: Attila Béres, Gábor Karle, producer: László Pesty
Rinocérosz Produkció, without a year, video, colour, 46’
Mónika decides to give up drugs. She turns to Dr Sándor Funk, addictologist at the Nyírő Gyula Hospital. She meets Ádám and they leave the hospital together, because it is too easy to get drugs there. They visit Dr Imre Csernus, the only doctor who will take on the case on an out-patient basis. Mónika meets her 7-year-old daughter, whom she felt unable to bring up after her husband’s death. Dr Csernus pays them a surprise visit - they are still taking drugs - the therapy didn’t work. Dr Csernus refuses to treat them any more.

VÉRREL ÉS KÖNNYEL 1–2. - Holocaust Romániában
’With Blood and Tears 1-2 – The Holocaust in Romania’
editing: Júlia Balogh, camera: Imre Glósz, editor: Zsuzsanna Szitányi, sound: Balázs Balogh, music: György Sebők, executive producer: Katalin Illy, with: Benjamin Lya, Hary Guler, Martin Marcos, Tibor Keller, Iván Ordentlich
Duna Television, 2003, video, black and white+colour, Hungarian, English, Romanian language, Hungarian voice-over, 36+40’
At least 200 anti-Jewish laws were passed by the Romanian parliament in the 20s and 30s. The Holocaust also started in Romania in 1938. Anti-Semitism was an official policy of Goga’s government. There was no need to account of the Iasi pogrom (12,000 victims), the death trains (3,000 victims) or the concentration camps (more than 300,000 victims). The Romanian genocide had nothing to do with the Germans: it was requested by the Romanian army, approved by the supreme civil authorities, and executed by the police and the gendarmerie. Survivors tell their stories.

Attila Vidnyánszky
(Tálentum series)
director, editing: Eszter Petrovics, camera: Ákos Bagi, György Sibalin, editor: Anina Szirti, sound: Tibor Belovári, executive producer: Éva Aranyosi, with: Attila Vidnyánszky, Zsolt Trill, Anna Kubik, Attila Kaszás, László Sinkó, Nelli Szűcs
Duna Television, 2003, video, colour, 29’
Attila Vidnyánszky, from Muzsaly in Sub-Carpathia, took an entrance examination to the Kiev Academy of Film Art to be a director. Before that he had only been in a theatre 6 times. He founded the Illyés Gyula National Theatre in Beregszász in 1992, encouraged by government promises, but the building is still not ready and the subsidy doesn’t cover the work. Vidnyánszky stands his ground in the “professional world” too: he often directs in Budapest, where he is more and more popular and well-known. As guest director he works with actors from Beregszász too and would like to keep the company together.

’Garden Suburb 2 – Home’
director: Zoltán Füredi, camera: Péter Dömötör, Zoltán Füredi, sound: Zoltán Karaszek, Rudolf Várhegyi, with: Ica, Laci, Pisti, Zoltán Füredi and his family.
Palantír Film Alapítvány, 2003, video, colour, 55’
The second part of Ica’s, Laci’s and Pisti’s story, which began in Garden Suburb 1. They are three homless people living in a ramshackle hut in a garden suburb. The director and his family make friends with them. After 8 years Laci is called home by his family. He stays with them and brings up his 3 children. Ica obstinately holds by her decision and refuses to meet her mother, her sisters and her own children again, because when she was in prison they disowned her. Pisti looks for his daughters, they are glad to meet again. A little later he falls ill and dies.

A VONAT - Johannes, A keresztlevél, Csorba történet, Majdnem szavanna
The Train – Johannes, Baptism Certificate, Blunt Story, Almost Savanna
director: János Domokos, Sonia El Eini, Péter Szalay, Csaba Szekeres, camera: Péter Dömötör, Zoltán Lovasi, Csaba Miklósvölgyi, Péter Szalay, editor: János Domokos, Péter Szalay, Csaba Szekeres, sound: Zsolt Juhász, Vince Kapcsos, Frigyes Wahl, László Zalányi, executive producer: Miklós Szederkényi, producer: Sándor Buglya, with: László Csorba Simon, Ibolya Duba, Péter Hercz, Attila Simonfi, Ibrahim Tagelsir, Kamilla Tavaszi
Dunatáj Alapítvány, 2003, video, colour, 53’
On the basis of János Domokos’ idea four film crews tell the story of four journeys. Four strangers start from four different points and take the same train to Romania. Their roads cross, they meet each other and others too, and then branch off. Johannes, the teacher from Csíkdámfalva living in Vienna is going to the cemetery for All Souls’ Day. The translator needs a baptism certificate in order to obtain a residence permit. Artist László Csorba (“Blunt”) Simon wonders whether sieves are being made again in Csomakőrös. The head physician from Sudan is visiting a woman who has been fasting for 38 days. Shooting started on October 31, 2003 and finished at noon next day.

ZÁRT KAROKKAL – Filmszociográfia 1997–2002
Most Unwelcome – Film Sociography 1997–2002
director, producer: Judit Kóthy, screenplay: Judit Kóthy, Judit M. Topits, story editor: Judit M. Topits, camera: Csaba Bátonyi, Gyula Stenszky, Vilmos Thernesz, editor: Péter Rostás, sound: Péter Almásy, László Kósa, Gábor Migray, János Zentay, music: Norik, Amaro Drom, Amaro Suno, Csacso Rom, Kalyi Jag, Mustafa Kandirali, Nagyecsedi Fekete József Szemek, Mary Nótár, Oregon, Snatch, with: Jenő Kaltenbach, Lajos Aáry-Tamás, Sulyok, István Herbai, Ernő Kóti
KLT, 1997–2003, video, colour, 104’
Most of the Roma in Tiszavasvári are jobless. The town hit the headlines in 1997, because the Roma children had a separate graduation ceremony. The scandal was more useful than harmful to the Romas: problems that had been suppressed were finally discussed. With the help of the Partners Hungary Foundation a dialogue was established between the Roma and the school and the local authorities. It became obvious that both parties were ready to compromise: they simply couldn’t understand each other’s languages. The film presents the stratification of the Roma in Tiszavasvári and the prejudices against them. 5 years of shooting show that there are changes, however slow.

’Cinematographer Vilmos Zsigmond’
(A Corvin-lánc díjazottjai series)
director: Péter Havas, screenplay, editing, reporter: Gyula Darab, camera: Virgil Szilágyi, István Haines, executive producer: István Nedeczky, producer: Gábor Garami, with: Vilmos Zsigmond, György Illés, János Badal, Tibor Vagyóczky
Cinema-Film, 2003, video, black and white+colour, 54’
Vilmos Zsigmond (b. 1930) has had an eventful life. As a child he went to school in Casablanca. Because of his middle-class origins he was refused admission to the Technical University of Budapest. Film-making gave him a chance to work as an assistant to the greatest men in the profession. He filmed the events of the revolution in 1956, and then left the country. 5 years later he became an American citizen, and in 1978 he won the Academy Award. The film includes excerpts from his works.