The Autumn 2014 selection of Müpamozi, the digital screening series from the Palace of Arts and the Hungarian National Digital Archives and Film Institute, poses the question of how desire, eroticism and nudity are shown in Hungarian film history. Is it truly Eros who is pulling the strings here? When are women shown undressed, and when are men? Do we see any joie de vivre in the erotic segments of these films? How is the medium of film able to treat words of erotic prose? What is erotic: ...total nudity, when only the shadow appears on the wall, or a silk slip slowly being pulled up over a garter belt? What is our culture of amorousness, and how does it interrelate with the depictions of reality that appear in film? What did Hungarian films use nudity for apart from erotic moments? Could love films be made today? András Réz's film club seeks the answers to these questions and more.
One of Pál Sándor's most beautiful 'human tales' is a grotesque caricature of the Holocaust. In the winter of 1944, the passionate guests of the Végvár Dance School are dispersed by an air raid siren. András Adorján, the cloakroom woman's son, steals a coat to sell it and buy the love of the prostitute Aranka Fussbaum. Mrs. Adorján and her children, accompanied by her brother-in-law Feri Svéd, depart to regain her son's honour. In the course of their pursuit, they trample over others and, losing their reason and chasing illusions, become victims of history. History appears in the film only at its tragic conclusion through the breakdown of human relationships, escalating pettiness and collapse of normalcy. The 'coat theft' symbolizes the dissipation of values and community, while the portrayal of sex as wild and animalistic emphasises the absence of human relationships.
Presented by: Palace of Arts, MaNDA
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