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.
In 1951, the celebrated prima donna Countess Lucie Sziráky is forcibly relocated to the countryside. In the village where she arrives with her hat box and mirror, a conspicuous campaign is underway against the former ruling class and in favour of increased production, so Lucie's skill as an actress and sexual allure is soon exploited. The schoolmaster falls for her, as does the police captain, which quickly causes a string of complications. With this black comedy, Dorottya Udvaros, who had only recently begun her film career in Pókfoci (Spider Football), became the number one diva of Hungarian cinema as its most free and sexy protagonist. One of the most blood-curdling scenes in Hungarian film history is when a she steps out of the bath naked and forces the likewise naked Zoltán Bezerédi to sing and dance at gunpoint.
Presented by: Palace of Arts, MaNDA
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