The first of Meszaros’ powerful autobiographical ‘Diary’ films charts its young protagonist’s return from Russia to Hungary as communism rears its ugly head in the period after WWII.
Isabelle Huppert plays a Jewish working-class woman who agrees to be secretly impregnated by her rich friend’s husband in order to help the couple conceive in this morally complex tale set in the backdrop of rising Nazism in the 1930s.
Not as powerful or involving as Meszaros’ previous semi-autobiographical ‘Diaries’, but as an opportunity to grasp how the 1956 Hungarian Revolution impacted and divided its people, it does an adequate job.
The second film of Meszaros’ ‘Diaries’ is an affecting semi-autobiographical tale of a young Hungarian woman with ambitions of becoming a film director, set against the tumultuous backdrop of the Soviet Bloc.
An older woman and a younger woman connect and find comfort in each other’s strengths as their husbands fail them in this intimate drama by the ever perceptive Marta Meszaros.
A strongly feministic work, albeit a rather cold one, about a young Hungarian woman who must navigate an industrial job, toxic masculinity and social norms of marriage and child-rearing, directed with quiet authenticity by Marta Meszaros.
Meszaros turns Beat-inspired music-making into highly-sensual filmmaking in this work about rebellious Hungarian youths, romance and rock bands.
A recently-widowed mother who yearns to be independent and her overprotective son cross paths in what is a slightly nondescript second feature from Meszaros about the perceived strengths and weaknesses of familial bonds.
While rather light on story, there’s a refreshing, liberating quality to Meszaros’ feature debut about a young Hungarian woman’s search for romantic and psychological fulfilment.
Laszlo Nemes’ second feature sees him reprise his “Son of Saul” technique—the long-take closeup in shallow focus—on a sprawling period drama, but with varying results.
Eternality Tan 