György Pintér

Zoltai is a Hungarian professor who returns home after a visit to the United States. Following a television interview, he commits suicide and leaves a note for his longtime friend Dr. Bardocz. The doctor and Zoltai's colleague Komindi join the police in investigating what drove the man to suicide.

Una confusa exposición sobre el Poder y su apariencia, el poder real y el poder imaginario, centrada en el siglo XV en Hungría, en una de las muchas épocas en que los húngaros estaban dominados por un rey extranjero. Un castillo es el lugar adonde regresa Gaspar, hijo de un noble húngaro, después de haber pasado desde su niñez a su adolescencia en Bolonia; Gaspar regresa acompañado de unos actores. Su padre -le dicen- ha muerto en las garras de un oso; su madre ha quedado muda y parece sorda, pero acaso para reponerse de la impresión y conservarse siempre joven sacrifica cada noche una doncella, y sus tíos, un arzobispo y otro enamorado y amante de su cuñada, están empeñados en que el joven Gaspar alcance a ser Rey de Hungría.

The subject-matter of this comedy is age-old: that of the schizophrenic soul. Papa would have liked boy twins years ago, but her wife gave birth to a single child weighing six kilograms. He would like to dampen his feeling of emptiness by having the boy registered both as Péter and Pál.

A group of landless Hungarian peasants accept work as migrant-laborers on a farm in northern Germany where the wages are good, and the wives and family are allowed to accompany them. Though it is in the midst of World War II, they are relatively well-off. However, they glimpse the treatment accorded to POWs and others who are not so gently treated, and at the conclusion of the year's harvest, they choose to return to Hungary and are quickly swept up in the tides of war. This film is part of a series of films by award-winning, well-respected director Zoltan Fabri who devoted much time and effort chronicling the struggle against fascism.

Ambientada en Budapest a finales de la Segunda Guerra Mundial. Un grupo de amigos dialogan una noche en un bar. Uno de ellos propone un dilema moral: Si volvieran a nacer, qué preferirían ser, un cruel rey que comete todo tipo de atrocidades o el esclavo que las padece..

The head of the nunnery is dying, and the members are divided in two groups as the election of the new head approaches. Led by Virginia, the younger nuns stand up for changing the strict religious dogmas and would like a modern school with genuine science, a bathroom to be built, and a freer spirit. Their candidate is sister Magdolna, who went to secular universities, too. The seminarists, led by Király Erzsi, also rebel against the older nuns' strict discipline and the depressed atmosphere of the institution. However, Magdolna does not want to stay involved in the fight because she is deterred by Virginia's sinful attraction towards her and the tools Virginia is using to gain victory at any price.

Alegory of the suppression of the 1919 revolution and the advent of fascism in Hungary; in the countryside, a unit of the revolutionary army spares the life of father Vargha, a fanatical priest. He comes back and leads massacres. A new force, represented by Feher, apparently avanges the people, but only to impose a different, more refined and effective kind of repression.

Savanyú and his friend work at a plant. After the monotonous shifts they engage in the pleasures of the afternoon and the night, i.e. parties and concerts. Savanyú dates Juli, they are already engaged. The young men live as sub-tenants, the young women in workers' hostels. None of these places are suited for spending time together. They are in need of an apartment. Out of the ruinous apartment which they lay siege on, however, they are sent away by the otherwise friendly policeman. At a concert held in the Park of Youth, Juli gets to know Géza. They flirt, then go to the country with a pop-group. Savanyú and his friends follow them. A minor fight cools the atmosphere.

Ostensibly a non-narrative study of various aspects of a rural winter, this short film by one of modern Hungarian cinema’s greatest visual poets has all the spellbinding qualities of his better-known feature debut Sindbad (Szindbád, 1971), but here allied to a winning sense of humour that’s never quite allowed to detract from the haunting beauty of many of the images. The end of autumn is heralded by a few red leaves still clinging to a statue’s sculpted robes, while whip pans across the increasingly wintry landscape and close-ups of rippling water are given character by seemingly random freeze-frames and Zoltán Jeney’s electronic chirrups on the soundtrack. There are recurring shots of birds, migrating en masse, huddled by the icy water or lying individually dead, frozen stiff in the snow. So far Capriccio has been a reasonably generic mood piece, but then the snowmen arrive…

The film is a historic parable about the topicality of revolution. 1514. The peasants' uprising is over, Dózsa has been arrested. Werbőczy tries to get the imprisoned peasant leader deny the revolution and offers him the lives of his people in exchange.

Edit, who became the wife of a politician out of a simple peasant girl, suddenly becomes a widow as a result of an accident. She never loved her husband. She lives a wealthy and lonely life amidst false friends, facing one of the last alternatives of her life, i.e. having to face her past in the hope of an independent new beginning.

Un niño asiste al funeral de su padre en una Budapest arrasada tras los bombardeos de la Segunda Guerra Mundial recién finalizada. El fantasma del progenitor, convertido en figura heroica, sobrevuela constantemente la vida de Tako, convertido a su vez en héroe, por herencia paterna, a los ojos de los otros niños. En contra de lo que podría esperarse de este argumento, István Szabó huye deliberadamente de cualquier pretensión de solemnidad y se decanta por el terreno de la ironía y el absurdo en el relato vital del protagonista desde la niñez hasta los tiempos de joven universitario, con el trasfondo de la emergente figura de Stalin tras la guerra. (FILMAFFINITY)

The story recalling the spirit of Gilgamesh, the Sumerian king quarrelling with his approaching death, takes place in a cancer hospital in Budapest. Dávid, the young ethnography scientist resigned to his lot and is indifferent to his approaching death. His specialist reckons, however, that such a searching and stubborn mind with thorough knowledge of the nature of his own illness, will be able to fight death.

A comedy about the organisation of agricultural co-operatives. In the village of "Rendes", everybody has already entered the co-op, only the stubborn farmer, Bódog Balogh continues to resist. The leadership plays all their tricks and uses all their efforts, but all in vain.

Kölyök, this lovely, ham-handed young woman, has caused many a trouble already in the Dunaújváros Iron Works. Fortunately, however, the manager does not want to give her up, what is more, Kölyök found a second father even at the police.

In the thirties, the poor living by the Romanian-Hungarian border, were forced to smuggling if they wanted to survive. Mihály, the Hungarian peasant, kills a border guard while fleeing. He is fed up with smuggling and wants to put an end to it, yet he needs money to get a job so he embarks on another turn.