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Based on the stories of Hungarian writer Gyula Krúdy, this film is a lush and sensuous depiction of the life, loves and memories of serial seducer Szindbád. As the protagonist looks back on his life, past and present, imagination and reality flow inseparably into one another.
Often called a “film poem” or a “film symphonie” Huszárik’s masterpiece consists of montages of horses from the dawn of time to the modern times from cave paintings to horse races.
Shreds and fragments of film poetry that make its own place on the edge of a document film. The film is a college of dialogue between nature, abandoned country, and human fancy.
The director has visited tens of cemeteries. He records monuments above mass graves and memorials that people pile above the ground where the dead bodies lie.
Huszárik's graduation film was another short entitled Groteszk (Grotesque) in 1963 about a strange train voyage of an artist carrying his own picture.
World wars pick their victims not only from those serving on the front line, women and mothers who have lost husbands and sons in battle also become victims. All that is left of loved ones are yellowing photographs, curling postcards from staging posts and crumbling graves – and a gaping loss shouldered over decades. Yet we rarely consider the grief of those who remained at home. This short by Zoltán Huszárik shares in this mourning.
A short film on Hungarian-born artist and sculptor Amerigo Tot.
In the Warsaw ghetto in 1943, Jews rise against the Nazis.
Writer Martin Sestrimsky and Secret Service agent Boyan Tilev got to know each other on the day when Martin gave Tilev a special dossier of grave consequences, which the writer has tried to surmount. With the ousting from power of Todor Zhivkov’s totalitarian regime, their relations take a new turn, when Tilev’s stepdaughter, Nevena, a mysterious young woman of double identity steps in. While Tilev is making a fortune from illicit deals, Sestrimsky, encouraged by Nevena, is doing his best to reconcile to his past. The truth of the two men’s shared past will come to light.
Misho becomes an orphan. The good people from the neighborhood take care of him until the child is placed in an orphanage. Everyone is trying to bring joy to the kid. However, Misho is searching for his mother's love in their eyes. Now the people are being kind to him, but there is always an invisible wall. Maybe uncle Elenko is the most sincere, since he shows his feelings in a tragic moment when Misho gets on a roof of a construction site. However, why does he care for Misho end with him convincing him to go to the orphanage?