Showing: Márta Mészáros  

Trailblazing auteur Márta Mészáros gives aching expression to the experiences of women in 1970s Hungary in this sensitive and absorbing slice-of-life drama, which became the first film directed by a woman to win the Golden Bear at the Berlin Film Festival.

Márta Mészáros Hungary, 1975

Binding Sentiments

Family ties become a trap from which a woman struggles to escape in Márta Mészáros’ quietly devastating sophomore feature.

Márta Mészáros Hungary, 1969

Diary for My Children

One of Hungary’s most acclaimed filmmakers, Márta Mészáros, drew on her own wartime experiences to craft this haunting portrait of a young woman coming of age amidst a turbulent historical moment.

Márta Mészáros Hungary, 1984

Diary for My Lovers

Márta Mészáros’ follow-up to Diary for My Children picks up the story of teenage Juli (Zsuzsa Czinkóczi), the director’s alter-ego, as she defies the wishes of her Stalinist aunt (Anna Polony) and leaves Hungary in order to pursue her dream of becoming a filmmaker in Moscow.

Márta Mészáros Hungary, 1987

Diary for My Mother and Father

The heartrending final installment of Márta Mészáros’ autobiographical Diary trilogy continues to trace the journey of Juli (Zsuzsa Czinkóczi), a young orphan, through the tumult of postwar Hungary.

Márta Mészáros Hungary, 1990

Don’t Cry, Pretty Girls!

Infused with the spirit of rock ’n’ roll and rebellion, this music-driven counterculture snapshot unfolds to a near wall-to-wall soundtrack of late 1960s-early 1970s Hungarian psych and folk as it traces the odyssey of a young woman (Jaroslava Schallerová, star of the Czech New Wave classic Valerie and Her Week of Wonders) who, on the eve of her marriage to a factory worker (Márk Zala), experiences a final moment of freedom when she runs away with a touring band.

Márta Mészáros Hungary, 1970

The Girl

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.

Márta Mészáros Hungary, 1968

Nine Months

A defiant woman asserts her autonomy in the face of a disapproving society in Márta Mészáros’ complex look at the ways in which women’s bodies and minds are held in check by the strictures of patriarchy.

Márta Mészáros Hungary, 1976


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.

Márta Mészáros Hungary, 1973

The Heiresses

The brilliance of a young Isabelle Huppert lends quiet intensity to this piercing period elegy.

Márta Mészáros Hungary, 1980

The Two of Them

Two women, each at a critical crossroads in life and love, find refuge in their friendship with one another in this multilayered look at female solidarity.

Márta Mészáros Hungary, 1977