The first Hungarian film directed by a woman, Márta Mészáros’ debut feature is an assured expression of many of her recurring themes: broken families, the relationships between parents and children, and the search for stability in an uncertain world. Erzsi (Kati Kovács), a young woman living in an orphanage in Budapest, sets out to reconnect with her birth mother (Teri Horváth)—a quest that leads her to a small town where Erzsi’s modern, urban sensibilities clash with the conservative, provincial attitudes of the woman who brought her into the world but with whom she has little else in common. Laced with the feminist concerns that would become a hallmark of Mészáros’ work, The Girl is a minutely observed portrait of a woman searching for where she came from in order to figure out where she is going.
The themes, images, and cultural vernacular of Victor Fleming’s The Wizard of Oz continue to haunt David Lynch’s art and filmography—from his very first short, The Alphabet, to his latest series, Twin Peaks: The Return. Arguably, no filmmaker has so consistently drawn inspiration—consciously or unconsciously—from a single work.
Alexandre O. Philippe
Childhood friends Pietro and Bruno experience maturity, loss, and the rediscovery of an unbreakable connection when they reunite in adulthood to build a cabin on the rugged slopes of the Italian Alps.
One of the major achievements of twenty-first-century cinema thus far, Béla Tarr’s mesmeric parable of societal collapse is an enigma of transcendent visual, philosophical, and mystical resonance.
Béla Tarr and Ágnes Hranitzky