Marta Mészáros explores class, gender, and generational conflict in Riddance, which stars Erzsébet Kútvölgyi as Jutka, a young factory worker who pretends to be a university student. The ruse retains the romantic interest of András (Gábor Nagy, who would go on to co-star with Kútvölgyi in Mészáros’s Diary for My Lovers and Diary for My Father and Mother), a handsome young man from an upper-middle-class family, but when Jutka reveals her true background their relationship becomes increasingly strained. In representing Hungarian society’s clashing attitudes and prejudices Mészáros depicts a working class woman’s attempt to overcome the perceived inferiority of her social status as well as her own familial dysfunction and feelings of inadequacy. Following Don’t Cry, Pretty Girls'’ portrait of youthful idealism, Riddance shows with somber compassion the complex societal and cultural barriers that separate the most hopeful of young lovers.
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