Set during the fading glory of the Austro-Hungarian empire, the film tells of the rise and fall of Alfred Redl, an ambitious young officer who proceeds up the ladder to become head of the Secret Police only to become ensnared in political deception.
Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away...
A man's story parallels Hitler's rise. Austrian Klaus Schneider, wounded in World War I, recovers in the care of Dr. Emil Bettleheim. Bettleheim discovers that Schneider possesses powers of empathy and of clairvoyance, such that could aid suicidal patients. After the war, with one friend as his manager and another as his lover, Schneider changes his name to Eric Jan Hanussen and goes to Berlin, as a hypnotist and clairvoyant performing in halls and theaters. He always speaks the truth, which brings him to the attention of powerful Nazis. He predicts their rise (good propaganda for them) and their violence (not so good). He's in pain and at risk. What is Hanussen's future?
Using almost no dialogue, the film follows a number of residents (both human and animal) of a small rural community in Hungary – an old man with hiccups, a shepherdess and her sheep, an old woman who may or may not be up to no good, some folk-singers at a wedding, etc. While most of the film is a series of vignettes, there is a sinister and often barely perceptible subplot involving murder.
In a rural scenery in the throes of difficult changes lives a humble but promising young farmer girl called Mari Pataki. Her father forbids her from seeing the man she loves. The father, above all preoccupied by work on the fields and prospective wealth, decides to give his daughter in marriage to an old but rich man with whom he does business. Land marries land, he says. This seems to be the unyielding rule of the Hungarian peasantry. But the young lover is ready to stand up to any challenge to keep Maris love.
In this dense setting, the inhabitants of a large, claustrophobic apartment reveal their darkest secrets, fears, obsessions and hostilities.
István, a király ("Stephen, the King") is a Hungarian rock opera written by Levente Szörényi (music) and János Bródy (lyrics), based on the life of Saint Stephen of Hungary. The storyline was based on the play Ezredforduló (Turn of the Millennium) by Miklós Boldizsár, who co-wrote the libretto. The opera was first staged in 1983 on an open-air stage in Budapest. This first performance was also made into a 1984 film, directed by Gábor Koltay, and its music released on an album. The musical became a smash hit and is still very popular in Hungary and among Hungarian minorities in neighboring countries.
Everyone is reaching retirement age. Some are happy to go, others regret that their active phase of life is over. The reporter asks retiring postmen and postwomen about the farewell they are now receiving at work. And they tell their stories. They tell us why they love their jobs, the relationships they've built up over the years with the people they've met on the job, and how much they'll miss WORK...
A girl is on the skids because of love. A short tempered and passionate young man falls in love with the girl. His emotions are so powerful that he is prepared to surrender his whole personality. The boy has a good friend, who is not sure whether their bond is friendly or homosexual. Before the girl arrived, the friendship was close, but now she has thrown a spanner in the works. How do they react to the new situation?
To celebrate Sleeping Beauty's awakening, the cruel stepmother organises a dress-ball in the Wonder Castle and invites the characters of all tales and their two fathers, the Grimm-brothers. The stepmother announces total peace, but in fact she is preparing for a coup d'état with a phoney prince, a phoney Sleeping Beauty, through intrigue and violence in order to change the tales.
The Witness (Hungarian: A tanú, also known as Without A Trace), is a 1969 Hungarian satire film, directed by Péter Bacsó. The film was created in a tense political climate at a time when talking about the 1950s and the 1956 Revolution was still taboo. Although it was financed and allowed to be made by the communist authorities, it was subsequently banned from release. As a result of its screening in foreign countries, the communist authorities eventually relented and allowed it to be released in Hungary. It was screened at the 1981 Cannes Film Festival in the Un Certain Regard section.[1] A sequel was made in 1994 named "Megint tanú" (English: Witness Again).
To calm down the competition that is raging between the tailor and the blacksmith, the justice men of a village decides to challenge the two craftsmen by having the two exchange their roles for a day.
In the country reformatory school both the teacher and the children are trapped by the circumstances. From among the pupils excels Sanyi, who cannot accept the fact that his mother does not love him and he keeps on escaping after her. From among the teachers it is Mr. Csőrös who distinguishes himself by listening to the children, looking for those who escaped, Sanyi feels affection to him.
