A revizor

Zsolt Mohai, an eccentric shop window decorator in his 40s, drops by Anna Parádi on his wedding day, asking her to phone his bride Klára Horváth and call off the event. Drama, discussions and musical numbers ensue over topics like romance, loyalty, ambition, and settling for a family life in a modern day city.

Three stories. Three ages. Three men. Grandfather, father, son. One is an orderly, one is a leading sportsman, and one is a master taxidermist. One desires love, the other success, and the third immortality.

In 1963 in Tihany, somebody addresses the writer Gábor Náday. He is reminded of a night drive in 1944 that saved his life. Painful memories start coming to Náday.

A young female interpreter meets her former great love, who now lives abroad and is married, yet she is completely convinced that there is still a chance for a fresh start.

The film is a historic parable about the topicality of revolution. 1514. The peasants' uprising is over, Dózsa has been arrested. Werbőczy tries to get the imprisoned peasant leader deny the revolution and offers him the lives of his people in exchange.

Over the course of four generations, a family in Hungary confronts poverty, political turmoil and a life that's perpetually on the move.

At a dusty crossroads in the Soviet Union villagers surrender their possessions - a horse, a samovar, a goat - to the state. The train which takes them away brings to the village a physically and mentally handicapped woman, barely able to speak. She makes herself bracelets of burrs and studies herself in a cracked and cloudy mirror. Befriended by very few, teased and tormented by many she seeks protection at a huge portrait of Stalin.

An agent, sent to solve the secret of the lives of those who have a daily routine, wishes to be a part of them. After revealing the secret - that the whole world is a projected image - he enters this dream-reality.

Few writers today tackle sweeping, multigenerational family sagas, work that demands vast life experience and insight. József Attila Prize–winner Árpád Thiery has done just that: his two published volumes of the Freytág Siblings’ story (1943 through the late 1960s) have been adapted by Hungarian Television into a five-part series slated for January 1989, and he’s already completed the trilogy’s final installment. Thiery describes it as a historical family novel, tracing postwar Hungary, from the Stalinist 1950s and the 1956 uprising’s aftermath to the upheavals of 1968, while celebrating freedom, truth, hope, boundless faith and innocent responsibility.

In 1930s Hungary, budding aristocrat Lőrinc Parcen Nagy undergoes a moral awakening. He abandons his privileged life to join the socialist underground, facing the harsh realities of class struggle and the approach of WWII.

1985. Hungary has elections for the first time since long where more than one candidate is allowed to run. The engineer Bodnár is the most popular man in the rural town, who has defended the microclimate of the neighbourhood against a harmful project. Before the elections he is also put on the list. Local power launches a fight against him,

The general practitioner Balla and his wife abandoning her higher education begin their common life in the small mountain village in the hope of quick enrichment and return to the capital. Despite Éva and Emma, the two school mistresses longing for love and Demeter, the dove-keeper obsessed with a desire for flight life is boring in the country.

Dery is a grande dame actress of the Sarah Bernhardt school of big-gesture theater. Her beauty and popularity is fading, and a new school of acting which involves the use of one's own emotions (a-la Eleanora Duse) is emerging in the person of her younger Viennese rival. She thinks of retiring from the stage, and reunites briefly with her estranged husband in a newly-built manor in the country. Finding that life there is boring, she returns to town, the theater, and her old friends.

Savanyú and his friend work at a plant. After the monotonous shifts they engage in the pleasures of the afternoon and the night, i.e. parties and concerts. Savanyú dates Juli, they are already engaged. The young men live as sub-tenants, the young women in workers' hostels. None of these places are suited for spending time together. They are in need of an apartment. Out of the ruinous apartment which they lay siege on, however, they are sent away by the otherwise friendly policeman. At a concert held in the Park of Youth, Juli gets to know Géza. They flirt, then go to the country with a pop-group. Savanyú and his friends follow them. A minor fight cools the atmosphere.

Inspired by García Lorca's stage poem, this is the story of a young woman who cannot realize her desire for self-realization either in the confines of her Andalusian village or in her relationship with her traditional husband.

This is a romantic biographical film about Franz Liszt. In a distinguished saloon of Paris, the unknown composer, Liszt, defeats the renown Thalberg at a piano competition. Through his playing, he wins the favours and later the hand of the countess D'Agoult. A daughter is born in their marriage, Cosima. Liszt is better and better known, Marie introduces him to the circle of artists.

Paul Bogár is released after a year in custody on suspicion of burglary - due to lack of evidence. The man seems to accept society's declared norms, taking a hard physical job in a factory. In his spare time, however, he resumes burglarising houses, carefully and without a trace. He gives the money and the gold he gets to his sister and her family. Although he always works alone, he takes his helpless brother-in-law with him as a driver. Beetle's principle: they too have the right to a good life, and it is impossible to provide it through work. However, a rival gang takes advantage of his brother-in-law to trap him...

The Empty King created a mythical figure and a whole world from grotesque, archetypal images. The drama was originally conceived as a student tirade against a teacher at Jarry's school, the Lyceum of Rennes. This teacher, Hébert, was the target of public ridicule. In 1888, at the age of 15, Jarry wrote a puppet play about the exploits of the Woolly Tartar and staged it to the amusement of his friends. The figure of Übü is a crude, cruel caricature of the foolish, selfish bourgeoisie as seen through the unrelenting gaze of a schoolboy; but this Rabelaisian figure, in all his falstaffian greed and cowardice, is more than a mere social satire. It is a terrifying picture of man's animal nature, his evil and cruelty. The Katona József Theatre in Budapest premiered Jarry's play in 1984, and it ran continuously for more than 10 years.

It is a tragedy, set among low-lifes on the outskirts of Budapest. Dramatic Exchange describes it as "Widely considered to be the most important Hungarian play of the last 20 years". The odd title of the play refers in the first instance to the chicken heads that an old woman feeds to her cat. However, it can also be taken to refer more broadly to the obtuse behaviour of the main characters in the play. The play is an odd mixture of pathos and nihilism, written against the bleak background of Stalinist totalitarianism from which Hungary was emerging. As with much modern drama, there is no hero in the play. The only noble behaviour that one can find belongs to one of the characters in the past, when he was a child, but he is no longer as he was. The hint that what once existed might be achieved again is the only faint ray of hope in a very bleak view of the human condition.

Eternal beauty and youth, who doesn't dream of that? For Julian, this dream becomes reality. But in contrast to his appearance, his image in an oil painting ages in a frightening way. On top of that, Julian is developing into a real monster.

Lilla, a forty-something couples therapist devoted to her family, is blindsided when her husband suddenly leaves her for a younger nail technician. Struggling with heartbreak, Lilla finds herself being pushed by her headstrong daughter, Zsófi, and her no-nonsense mother, Vilma, to snap out of her depression and start dating again. In a bid to lift her spirits, Vilma introduces Lilla to a charming journalist — but things take an unexpected turn when Zsófi discovers a potential match of her own for her mother.

Would you believe in a policewoman who suffers from such serious panic disorders that she is afraid to get close to any crime scene and has been on permanent office duty for more than a decade? Would you believe a lone mother who is unfit to pay her mortgage and also raise her rebellious teenage daughter? Indeed, no one believes that the troubled ex-detective has discovered a serial murder case. Personal dramas and a murder mystery unfold in present-day Budapest, where demonstrations are part of the pre-election life of a city still trying to cope with the shadows of its historical and recent past. It is a city where nothing seems honest and true, except through the eyes of an emotionally unstable policewoman and her misfit daughter who wants to know who her father truly was.

Hungarian TV movie about King Béla III of Hungary

A story about Lala, an eight years old magician.

PFC Molnár decides his WWII services are over, and with serious money hidden in his hand grenades, he heads to an abandoned mansion where he encounters not only the sour butler but a bunch of others who also try to wimp out of their duties.

Never miss a satire if you'd like to have a wider view of the 60's or 70's (and maybe the 80's) Eastern Europe. Both the regime and behavior of people are pilloried, with many-many hints that show deeper details of the correlation of the two. And the creators didn't miss to have some words about the West and it's part of this history. But don't sit down to see the film if you'd like to have a light funny evening movie, 'cause that will lash up your feelings alright. The director is that same Peter Bacso, who directed the legendary satire 'A tanu' (The witness) which deals with the same historical era, the same relations between politics and the people, just from a little different point of view.

This film describes the narrator's childhood, the years before and after the Hungarian Soviet Republic, in a burlesque and fabulous style and with the humour of a child's fantasy.

A cross-section of the relationship between the two great figures of French symbolism, Arthur Rimbaud and Paul Verlaine.