Gyulai Panni’s Broken Things (2018) & Daria Kashcheeva’s Daughter (Dcera, 2019)

Vol. 100 (December 2019) by Melina Tzamtzi
Two recent animation shorts shown at this year's Primanima festival in Hungary delve into the scars left behind by family traumas.

László Nemes’ Sunset (Napszállta, 2018)

Vol. 89 (November 2018) by Isabel Jacobs
László Nemes’ follow-up to Son of Saul returns to the conflict-ridden pre-WWI period.

László Csuja’s Blossom Valley (Virágvölgy, 2018)

Vol. 89 (November 2018) by Jack Page
László Csuja tries genre constraints in his coming-of-age road movie.

S. Komandarev, M. Szymków, L. Dombrovszky, E. Moskvina & M. E. Scheidt’s Occupation 1968 (2018)

Vol. 84 (April 2018) by Konstanty Kuzma
This collaborative feature misidentifies the ghosts that haunt Europe today.

Bernadett Tuza-Ritter’s A Woman Captured (2017)

Vol. 82 (February 2018) by Colette de Castro
This film portrays at once the immense fragility of a woman who has been enslaved for ten years by a Hungarian family, and her startling strength.

Nimród Antal’s The Whiskey Robber (A Viszkis 2017)

Vol. 81 (January 2018) by Anna Batori
This film about a post-Socialist folk hero is overwhelmed by the miscellaneous facets of its subject matter.

Roland Vranik’s The Citizen (Az állampolgár, 2016)

Vol. 80 (December 2017) by Anna Batori
This Hungarian feature tries to make debates about the refugee crisis emotionally accessible.

György Kristóf’s Out (Vychladnutie, 2017)

Vol. 77 (September 2017) by Zoe Aiano
György Kristóf's debut gets tangled up in clicheed depictions of the Wild East.

György Pálfi’s Free Fall (Szabadesés, 2014)

Vol. 74 (April 2017) by Anna Batori
In keeping with its author's handwriting, György Pálfi's film is a gory visit to adventureland.

Ildikó Enyedi’s On Body and Soul (Testről és lélekről, 2017)

Vol. 72 (February 2017) by Zoe Aiano
Ildikó Enyedi’s On Body and Soul, winner of the Golden Bear, suffers from its stylistic eclecticism.
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