Kornél Mundruczó’s Delta (2008)

Vol. 29 (May 2013) by Konstanty Kuzma
In this film by Hungarian helmer Kornél Mundruczó, a young man returns to his hometown to settle down.

Hermann Kosterlitz’s Peter (1934)

Vol. 27 (March 2013) by Colette de Castro
Colette de Castro reports from this year's Berlinale retrospective, reviewing an 1934 German-Hungarian comedy.

Miklós Jancsó’s Cantata (Oldás és kötés, 1964)

Vol. 27 (March 2013) by Moritz Pfeifer
Moritz Pfeifer asks whether Miklós Jancsó's second feature Cantata achieves its existentialist goals.

Sándor Mihályfy’s The Train-Stop Comes Alive (Indul a bakterház, 1980)

Vol. 26 (February 2013) by Moritz Pfeifer
Moritz Pfeifer saw this Hungarian TV comedy from 1980.

Miklós Jancsó’s Wake Up, Mate, Don’t You Sleep (Kelj fel, komám, ne aludjál!, 2002)

Vol. 26 (February 2013) by Konstanty Kuzma
Konstanty Kuzma argues that Miklós Jancsó's problematic film from 2002 points to his artistic arrogance.

Enyedi Ildiko’s Simon, the Magician (Simon mágus, 1999)

Vol. 25 (January 2013) by Julia Zelman
In this surrealist film from Hungarian director Ildikó Enyedi, the French police seeks help from a Budapest sorcerer.

Béla Tarr’s Prologue (2004)

Vol. 25 (January 2013) by Anastasia Eleftheriou
This segment from Hungarian director Béla Tarr was part of the cooperative Visions of Europe project (2004).

Karoly Makk’s Love (Szerelem, 1971)

Vol. 25 (January 2013) by Konstanty Kuzma
Konstanty Kuzma compares Karoly Makk's 1971 film with Michael Haneke's Amour and Ulrich Seidl's Paradise: Love.

André de Toth’s Crime Wave (1954)

Vol. 25 (January 2013) by Patricia Bass
Patricia Bass saw this film noir from Hungarian director André De Toth.

Some Ideas on the Meaning of Béla Tarr’s Animals

Vol. 25 (January 2013) by Moritz Pfeifer
Why would animals make someone stop filming? Moritz Pfeifer talks about Béla Tarrs curious relationship with animals.
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