See Szegénylegények (Jancsó Miklós on youtube.
See clip from The Round-Up (Szegén on youtube.
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See First Scenes of : Szegénylegén on youtube.
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See Szegénylegények on youtube.
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See Miklós Jancsó Director Tribu on youtube.
See Jancsó Miklós, Banovics Tamás: on youtube.
Description: Imagine awakening one day to explore that you are not human. That you can memorize whole ebooks word for word but not recall the day before. Imagine discovering that everything you have ever known and each memory that you have is a lie. What would you do? This is the storyline of Emma and what she did.
Description: A photographer travels around the world. In Amsterdam, where he lives, he meets Iris, who is ten years younger. He is fascinated by her and slowly their relationship grows. Even though they are passionate about every other, their lifestyle and vision on the globe appear to be too differentiated.
Description: What at first appears to be a surprise family vacation turns into a kidnapping and ends in a nightmare, when Simone discovers her father is on the run from serious problems. As she slowly realises that he is losing his mind and on the verge of doing terrible harm, she decides to protect her family. Loosely based on a family drama in the Netherlands.
Description: Sam and Do (short for Dominique) have been together for five years. They play life and are very happy. But then Do gives birth to their son Max. Their entire life is suddenly upside down. Can their love survive after the comeback of their baby?
Description: Anna begins and ends in euphoria: brother and sister Stijn and Brecht have both place the ghosts of the past behind them and she has finally told 'yes' to the tall waiter who has been courting her for so long. In their tragic past, the mysterious Anna plays a key role. When some time soon Anna suddenly reappears, she again turns the siblings' life topsy-turvy.
Description: A group of holidaymakers descends on the West Frision Island Vlieland, where every of them is confronted with relational problems. Loneliness, surfacing secrets or a crisis; everyone gets their share.
Description: The long-awaited sequel to Men Briefs, the successful compilation of six outstanding short movies about gay first love. Hosted by DANNY ROBERTS, star of MTV's THE REAL WORLD NEW ORLEANS. Movies included are: Doors Slash Down (2000); Chicken (2001); Back Room (2000); Breakfast? (Frühstück?) (2002); Touch (2001); and Take-Out (2001)
Description: Jamie, an aspiring photographer and clumsy romantic, falls for his mate William, a pre-med student who's involved in a long-term relationship with an older man. Shared dance lessons and shared wine lead to shared beds. William wants Jamie but won't leave his partner. Confronting William and confronted by William's partner, Jamie starts to sort out the difference between being lonely and being alone
Description: An encouraging and sexy storyline of overcoming obstacles in reaching real love. Johnny, a thin 19-year old (played by Justin McFarlane), leaves a reform school in Chehalis, Washington, to hitchike north to Olympia, Washington and eventually meet and transport in with a hunky lawyer, Joel (played by Michael Harboush). Assisting are Chip (Donald Allen), the popcorn king's young son along with his fresh lover Senator Matthew Bradley (Dennis Kleinsmith).
Description: An ultra-grim Highway Security Movies title, thanks to narration that’s even more dour than usual and a chilling musical score by Hungarian composer Zoltan Rozsnyai. This is not the TV series, "Emergency!" These are true folks who are hurt. You not only receive a glimpse of the gory effects of accidents; you see emergency care before the paramedics came into vogue (1969). Miami rolled out the first paramedics that year while Los Angeles County (basis of "Emergency!), along with Portland, began providing road medicine.
Description: Based on a scene enjoy by C. Stafford Dickens, Command Performance is also beholden to The Prisoner of Zenda and another Ruritanian romances of that ilk. Neil Hamilton stars as Peter Fedor, a scene actor who bears a striking resemblance to Prince Alexis of Kordovia (also Neil Hamilton). Getting into a war with the hotheaded Alexis, Peter gives the prince a royal shiner. Impressed by his courage, the Queen Mother (Vera Lewis) orders Peter to impersonate Alexis, who has announced that he will give up his throne if he is forced to marry the contentious Princess Katerina (Una Merkel). Peter and the Princess fall in love, whereupon the petulant Alexis is said to take a hike. Command Performance was one of few interesting movies produced by James Cruze for low-budget Tiffany Pictures.
Description: A satire about the hard method movies are made in the Netherlands. The focus is on the painstaking method in which aspiring filmmakers, have to see the script in hand, grants and funds available.
Description: It is the real storyline of a boy named Biagio Conte, a Sicilian who was looking for God and ended up founding a point to support the homeless and the poorest immigrants of his city. His storyline begins in the mountains as a shepherd and continues on a long trip to reach Assisi, the home of Saint Francis.
Description: Sarah Duncliffe (played by Rachel Kerbs) wars suicidal thoughts and disturbing hallucinations of her deceased sister (a victim of a tragic childhood accident), an abusive ex-boyfriend who continues to stalk her, and the banal existence of an empty marriage. Weeks away from delivering a kid that she feels undeserving to parent, Sarah finds her life taking a surprising turn when she accidentally meets her fresh neighbor who harbors an nice life secret and shares a private connection that will change her forever.
Description: Do you have experiences in your life that you write off to the indiscretions of youth? When you’re in the heyday of your youth, do you intentionally do things that are reckless because you know you can? A group of mates look back on their past, some with fear, some with regrets, as they think back to the mistakes and choices they made when they were young and wonder if they would do it all over again in the same method if they got other chance. “Bye, Old Times,” also known as “Bye, Old Days” and “Be, Jiu Shi Guang,” is a 2013 Chinese movie directed by Li Xin. It stars Tang Ji Liang, Liu Cheng Rui, Qiang Yu and Hua Jiao.
Description: Based on the traditional Dutch smartlap category (an overly dramatic folk song). Maria Machita has to deal with a lot of heartache in this short musical film; her father dies in an accident, her mother perishes in the theatre, and her sweet Turkish boyfriend is leaving the country. Awarded with a Gouden Kalf for Greatest Short Film, the Prijs van de Stad Utrecht and the Pathé Tuschinski Award. (from http://www.filmfestival.nl/publiek/films/de-tranen-van-maria-machita)
Description: I don't know who I am - that's what it is', the seventeen-year-old curly redhead Jordi grumbles to his tough girlfriend. Under mother's wing, Jordi spends all his time on the Internet. His only journey is a ride on the back of his girlfriend's motorbike. One day, a coincidental but shocking discovery on the Net forces him to begin searching for his identity, away from his familiar environment. It takes him to a confrontation with his biological father who was supposed dead, but appears to live in Ireland and does not instantly press his lost son in his arms. Kilkenny Cross is a coming-of-age drama, in which the Dutch urban water landscape contrasts with the green hills of Ireland and the impassiveness of modern means of communication with the longing for human intimacy. A chat session between mother and son leads to an emotional climax. In a cameo role, female novelist Manon Uphoff explains what real love means.
Description: On Scene is a fake documentary about a promising five-headed cabaret company at the Cabaret Academy, who after their graduation are signed up by an impresario. The latter wants to open them as true stars, but the troupe appears to be less close-knit than expected, when machinations and mutual tournament drive the mates apart and one person is even victimised. The actors really graduated from the Academy in 2003.
Description: Making Waves is the storyline of Cella (Jacqueline Blom) and her 71-year-old mother Johanna (Kitty Courbois). Life smiles upon Cella. Happily divorced, having two kids and a successful job as a presenter at a local station, for which she interviews folks each morning who take the ferry across the IJ river. In her enthusiasm, Cella resembles her mother, once a celebrated violinist, but the similarity also causes friction between the two women. Just when Cella meets a fresh love, her father's sudden death puts her life on a various track. Johanna increasingly muddles past and show and brings back fragments of memories that mission to a painful secret she carries on her back. Cella tries to dig up the truth.
Description: Jeanne, an orphaned young heiress, is about to be married off to an elderly boy by her scheming aunt, who stands to create cash on the marriage, a fact of which Jeanne is unaware. Jeanne is also unaware that her aunt heads a ring that runs crooked card games, and one night Jeanne attends a fixed bridge minigame at which her aunt hopes to hack a wealthy young boy out of his money...
Description: An elderly farmer finds out that he owes a large inheritance tax. Land developers present up to offer him a predatory deal. His neighbors are having related problems. That's when an old acquaintance of his arrives for a visit and lends a hand.
Description: In 1960s Fresh York, Walter Stackhouse is a successful architect married to the pretty Clara who leads a seemingly excellent life. But his fascination with an unsolved murder leads him into a spiral of chaos as he is forced to enjoy cat-and-mouse with a intelligent assassin and an overambitious detective, while at the same time lusting after other woman.
Description: A tiny city lawyer, with a comfortable tiny city life undertakes the largest situation of his career in an zone of law he does't handle vs corporate defendants that never lose.
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With these early movies of Miklós Jancsó (people don't realise he's still making films, with one slated for 2009, and his technique is actually fully different) where he shows dehumanised power systems, there's everytime a dual interest for me. You receive the type of political comment, but you also receive the love of nature as a counterpoint, I think one observer noted of the Red and the White, that the main hero was the river Volga. Perhaps he's proffering country walks as an alternative to power games, as wise a recommendation as any you'll see in a film.Anyway in the Round-up we have a whitewashed stockade out on the Hungarian plains. One Count Gedeon Radey has been given the task by the "Apostolic Emperor" of rounding up all the terrible sorts, the outlaws. This is back in the late 1800s, we are led to trust that the monarchy has become ignorant and hard-hearted to the populace in the countryside, banditry and revolt foment. Radey interns all these "bad sorts" in the stockade. He wants to search out which of them are undesirables, which he does through a series of psychological games. It's reasonably clear that all the boys rounded up aren't ignorant thieves, one for example has travelled extensively and speaks four languages.It's almost fetishistic the setting, you've got an achingly pretty shimmering plain of grass that reminded me of when I was a child, strange sensations linked to nature and story-telling. Then you've got all these military boys with their advanced piping, tabs, epaulets and sabres. The wild birds are trilling throughout the whole film, except at night when the cicadas chirp. The wind flutters the black feathered cockades on the hats of the officers. You can feel the flaming June heat radiate off the whitewash. Jancso appears to have fetishistically had the sets reconstructed from drawings in historical documents, along with a gibbet that Pasolini would have been proud to display in Salo.We see for example a boy being lead out of solitary confinement, a soldier asks him his name, and the boy replies "You already know, Varjù, Bèla" the soldier replies almost lovingly, "Ah yes, Bèla Varjù, you've had many a beating from me haven't you?". Horses ride in circles, boys are marched in circles, insanity abounds. The movie is basically an exercise in dehumanisation. For me it's not offering much in the method of commentary, unlike the Red and the White which is setting out the aleatory nature of war. The Round-up is perhaps a protest about what went on in the past, an ode to the dead who died for a gratis Hungary.The necessary person in the movie is Lajos Kossuth, although you'll never see him. He is one of the popular personages in Hungarian History. He became popular via a series of letters he wrote that were very well received whilst he was a deputy to a Count at the National Diet. He was a liberal of note, he wanted an end to feudalism, and he wanted taxation of the aristocracy, and to remove their right to pass their lands and castles and such like on from one generation to the next without taxation. Anyway he had an interesting life which I'm sure you can read about elsewhere. And his was the spirit of the majority of the interned, although there were brigands too. I think it's key to understand history in the films of Jancsó, otherwise, in this situation you might be led to trust that all the prisoners are simply terrible people.Radey, I trust is only seen once in the film, but he stands vs the spirit of Kossuth and behind the "apostolic emperor".This is not a nasty movie in the sense that it doesn't stand up much to the lvl of horror you would see in a modern exposition on the same subject, or anything like the torture porn of actual sensation. That for me I think is a nice thing. There is one stage though of poor evil genius. Each day womenfolk are allowed to come to the stockade and deliver meal for the prisoners. One boy who is threatened with strangulation unless he turns informant peaches to the authorities that one of the girls is in league with a rebel leaders (she is probably his sweetheart). It is arranged for many of the rebels to be sat high atop the stockade wall (perhaps 50ft high). They are then forced to watch this girls whipped to death as she runs down a corridor of sadistic troops on the launch plain. It is too much for three of the boys who plunge head first down to their deaths. The techniques of the Radey and his troops are ingeniously cruel, they create you complicit in your own demise and the demise of comrades, they bewilder you. It may surprise you that throughout the whole movie the troops appear almost gentle.Obviously, essential watching.
I have made of this most notable of Hungarian movies a private holy grail ever since I laid eyes on an illustrated two-page spread found in an old British magazine of my father's entitled "The Movie" – and now, over 20 years later, I have finally managed to track the thing down and, thanks to the valiant R2 DVD label Second Run, add it to my ever-increasing eclectic home video collection. For the record, despite knowing of its imminent release on DVD, I was seriously contemplating traveling to London for last week's big-screen showing of THE ROUND-UP at the Curzon Mayfair (with Jancso' in attendance, no less) – but, alas, it is just as well that I didn't go because of what occurred over here a couple of days prior to the event: a tragically unnecessary death in the family which, worse still, turned into a national tragedy (with long-term social and legal repercussions to boot). But life, pitiless and unjust as it is, has to go on and, slowly but surely, I have actually jumped back into my old routine of movie watching and reviewing... Although there have been another noteworthy Hungarian film-makers before (Paul Fejos) and since (Istvan Szabo), Miklos Jancso' is still perhaps the most important. Ironically, while he was the first one I personally became aware of, my viewing of THE ROUND-UP has now been my very first encounter with his work – although, actually that the first step has been taken, it will be followed by three more in a several days' time. Sometimes it can happen to a movie buff that the current experience of watching the movie, about which one has heard a lot and eagerly longed for, turns out to be underwhelming but, thankfully, this has not proved to be the situation for me with THE ROUND-UP. Indeed, the phrase "unlike anything you've ever seen before" is often freely banded about by unimaginative movie reviewers – but this description is unquestionably apt when applied to Jancso''s masterpiece.In that enticing and insightful article I mentioned above written by Jancso''s first assistant director on the movie itself (and which I instantly re-read upon the film's termination), it is stated that while THE ROUND-UP was based on factual happenings which had taken zone in Hungary in 1869 and should have easy been shot on the current territories of castles and fortresses, Jancso' sought a various visual approach altogether with regards to sets and costumes – "half-way between reality and abstraction", as he brilliantly puts it. Since I found myself wholeheartedly agreeing with another observations he made on the film, I don't see why I can't quote him some more: "It has a coherent, easy-to-read storyline – comprehensible at a single viewing – and at the same time a deep, intellectual, almost abstract parable".The abstraction being alluded to is not restricted to visual (literally, black and white) terms alone – where the stark whiteness of the prison-fortress walls and the hooded Hungarian convicts memorably contrast with the black capes and uniforms of the Austrian oppressors – but also to its very narrative style: while it becomes clear early on that the topics of the relentless interrogations is the identification and capture of legendary rebel leader Sandor (who never now appears in person but whose presence permeates the whole film), folks appear and disappear with insistent frequency and, although there are definite characters which take precedence over others, there is no real main central figure one can clearly identify with and root for.Thematically, it is oppression and degradation which are the key elements: right from the animated prologue at the begin displaying a succession of torture devices, we soon watch boys made to stand in the rain and a girl stripped naked and whipped to death with canes (the sight of which sends her despairing spouse leaping to his death). But the oppressors' ultimate weapon of humiliation is treachery: through vain promises of immediate freedom, prisoners – and, at one point, a grieving mother and, soon still, father and son – are repeatedly induced to betray one other (via abrupt, silent motions) but, instead of liberty, they are rewarded with a bullet in the back, the retribution of their own folks and, in the supremely ironic finale, cold-blooded mass extermination. In this context, the hero of Gajdor is especially poignant (and even amusing in a blackly comedic way) as he pathetically keeps reminding his captors that, even though he has already fingered few worse criminals than himself, he is a prisoner still. Interestingly, this paradox can also be applied to the ingenious zone of the prison-fortress (within which practically the entire movie is set) – rebuilt specifically for this production in the middle of uninhabited plains that stretch as far and wide as the eye can see.Miklos Jancso' is renowned for his rigorous visual style and, even from this one sampling of his work – albeit that which is generally perceived as being his chef d'oeuvre – to tell that I was rightfully impressed would be putting it mildly. The constantly moving camera, on the one hand encircling the prisoners as if it was one of them and encompassing wide vistas of troops astride their horses on the other, necessarily limits the utilization of close-ups to the barest minimum – as if purposefully adopting the impassive stance of an historical observer. For this viewer, it literally wove a mesmeric spell the likes of which I have only experienced once before during a film – Robert Bresson's A MAN ESCAPED (1956) which, perhaps significantly, also deals with incarceration.
Miklos Jancso's The Round Up is not concerned with hero development or a complex plot. While this may annoy some, it suits this movie perfectly fine. The film feels very cold and remote, almost Kubrickian in content and style. Surprisingly, there is very tiny violence in the movie although it seems like that the movie is very brutal. Perhaps this is because of emotional hopelessness most of the characters experience in the film. A very worthwhile experience overall, rent it, although just don't be prepared to come away smiling.
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