Imre Gyöngyössy
1930 - 1994Szarvassá vált fiúk
Imre Gyöngyössy
Mari Törőcsik, Erzsébet Kútvölgyi
This poetic film presents the ballad of the boys who turned into stags, by the associative means of music, painting and folk art. At the same time it is a memorial to the martyrs of the 1944 Sátoraljaújhely prison revolt and shows its butchery reflected through the fate of three brothers.
Sons of Fire
Cinématon
Gérard Courant
Gérard Courant, Alain-Alcide Sudre
Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.
Cinématon
Halál sekély vízben
Barna Kabay, Imre Gyöngyössy
Anna Romantowska, Erika Bodnár
1991, farewell in Budapest. Mária remembers the past in tears. Her husband, Tibor, a chemist and a target of the KGB, left their apartment one evening to fetch some cigarettes only to be found drowned in the shallow Lake Balaton the following day. Their son, Peter, a student in Western-Europe, was found dead on the Danube embankment.
Death in Shallow Water
Meztelen vagy
Imre Gyöngyössy
Sándor Oszter, István Szeghõ
The director of Meztelen Vagy was imprisoned for many years during the latter part of the Stalin era and is known for his highly imagistic and symbolic storytelling techniques. This film tells its story in the same way, and at no point is the story made explicit. Images of love, death, suicide, violence and mutilation dominate.
The Legend About the Death and Resurrection of Two Young Men
