Reporter at Stork Club
Biography of the African-American who became a major performer in the Paris cabarets of the 1920s and 1930s. The film follows her life beginning as a struggling performer in 1917 St. Louis, her frustrations leading to her move to France, and follows to her death in 1975. Written by John Sacksteder
Writer
Eckermann (Laszlo Kistamas) is a listless computer whiz who spends most of his time lounging in a bathtub holding imaginary conversations with cartoon characters usually more popular with children than grownups. He has some friends who want to use his skills to steal some money from a local gambling joint. He works out a scheme for his friends and returns to his tub. At some point along the way, he is joined in the water by a lovely Czech refugee, who (perhaps inadvertently) makes it possible for him to die there.
Screenplay
Eckermann (Laszlo Kistamas) is a listless computer whiz who spends most of his time lounging in a bathtub holding imaginary conversations with cartoon characters usually more popular with children than grownups. He has some friends who want to use his skills to steal some money from a local gambling joint. He works out a scheme for his friends and returns to his tub. At some point along the way, he is joined in the water by a lovely Czech refugee, who (perhaps inadvertently) makes it possible for him to die there.
Director
Eckermann (Laszlo Kistamas) is a listless computer whiz who spends most of his time lounging in a bathtub holding imaginary conversations with cartoon characters usually more popular with children than grownups. He has some friends who want to use his skills to steal some money from a local gambling joint. He works out a scheme for his friends and returns to his tub. At some point along the way, he is joined in the water by a lovely Czech refugee, who (perhaps inadvertently) makes it possible for him to die there.
Director
Peter Hutton’s essay on the naturalization of the urban landscape. Voluptuously gray, worn and lived in, the city is like a stage set for an invisible drama.
Editor
The documentary was shot in the prison for juvenile delinquents in Hungary. It does not aim at judging whether the perpetrators were convicted rightly or not but, given the burden they carry, how they can reintegrate into society after they are released.
Director of Photography
The documentary was shot in the prison for juvenile delinquents in Hungary. It does not aim at judging whether the perpetrators were convicted rightly or not but, given the burden they carry, how they can reintegrate into society after they are released.
Director
The documentary was shot in the prison for juvenile delinquents in Hungary. It does not aim at judging whether the perpetrators were convicted rightly or not but, given the burden they carry, how they can reintegrate into society after they are released.
Writer
The documentary was shot in the prison for juvenile delinquents in Hungary. It does not aim at judging whether the perpetrators were convicted rightly or not but, given the burden they carry, how they can reintegrate into society after they are released.
Director of Photography
A Hungarian jew is forced to give a false testimony on his relatives in WW2 Hungary.
Zoltán
Due to his profession, Fred, an easy-going and charming long-haul truck-driver, sees a lot of the world. Along his routes he enjoys the company of a lot of girlfriends who sweeten his spare time. One day, he suffers an accident in Prague which puts his co-driver Orje out of action. The beautiful Hungarian Jana persuades him to make her his new co-driver and does her utmost to take care of the stressful job. The more time the uneven couple spends on the road together, the more Jana feels attracted to Fred.
Pataki Gábor (as Mész András)
The week-days of a youth-camp, playing democracy, are depicted in this documentarist satire. Due to faulty organisation, the Budapest high-school students get only working tools, but no work to do. The camp leadership tries to cover up facts and urges them to be initiated into "community life".
