István Márton

The film is a documentary-feature film based on real stories and made with amateur actors. The district pioneer secretary is assigned to find a pioneer who can play a musical instrument, has a working-class background, and studies well at school and appoint him for a one-month-long premium holiday in Britain. He finds a guitarist, Balogh Tibi, in a village school.

Royce is a member of the ultra-secret service "Black Hole", working for the US Government on top-secret missions. When the senator responsible for forming Black Hole disbands the organization, Royce's fellow Black Hole members plot revenge on the man responsible for them losing their jobs. Royce decides not to join them, instead deciding to thwart their attempts to exact revenge on the senator.

Geri’s life flashes before him in the “Buhera Matrix,” a cringe-worthy slideshow of childhood photos from Pioneer camp to prom night. He relives the absurd clash between Mickey Mouse and socialist youth rituals, debates the perfect horse-chestnut hole size and survives the notorious fruit-game initiation. As the disastrous graduation and its Bavarian-style sacrifices cap off his painfully vivid memories, the film spins forward through Hungary’s late-20th-and-early-21st-century history through the eyes of a ’70s-born generation.

Caligula, governor of Syria, is ordered by the emperor to take his statue to the temple in Jerusalem. The governor becomes a point of conflict between the will of the emperor and the Jewish community, which opposes it, and with crystal-clear logic he ends up refusing to obey the order.

Waiters’ competition at Heroes’ Square in the late thirties. Dressed as waiters, Kapa and Pepe awake in the bronze chariot of the millennial sculpture group. They drive along the Danube promenade, and on the concrete reinforcement of the demolished Budapest rondella hotel they get involved in a showdown of political background. In the burnt-down Sports Hall the waiters train for a last supper, Pepe and Kapa run around the big laid table with trays in their hands. While doing so, Pepe keeps crying out: "I am the best one, I am the most beautiful one, I am the king, I am the god..." Sitting in a boat on the Danube, a ship goes past them, and the Niagara falls, majestic and breathtaking, resound in their ears. On each passing away something new will come to life – as rapped by Sub Bass Monster.

When Hungary's newest prime minister is shot and killed at a reception, the resulting investigation is necessarily swift and comprehensive. This compelling political thriller uncovers two prime suspects: the woman who guns the leader down, and a man who was friends with both the prime minister and his murderer. Using video surveillance footage, as well as other more artful and symbolic imagery, the noted "visualist" director Miklos Jancso, who is known for his craft in getting his points across non-verbally, combines fantasy and reality in a highly ironic manner.

In the Kerepesi Street cemetery, three grave diggers contemplate the fate of the world, then they step out of this role and in a sequence of episodes they play the typical figures of contemporary Hungarian reality, the fat cat, the swashbuckler, the victim, underworld chieftains, and present little absurd dramas of love, marriage, friendship, public order and legal safety. The author and the film director walk among them all the time, contemplating, laughing at their plays. The stories starting from the graveyard and returning there warn of the inevitability of death. The author and the director (Gyula Hernádi and Miklós Jancsó) wisely make friends with death.

This time, Kapa and Pepe are first of all prisoners of war – and convicts taken to forced labor service, Jews, Hungarian soldiers, German soldiers. Once they are to be executed, then again they are to perform executions. The film tells in spectacular episodes about the fact that in the past more than one century and a half we kept marching from war to war; occupation and liberation turned out to be indifferent, and why couldn’t the Jews execute the SS-guys? Our heroes hover about dilapidated barracks, then again on the bridges of the capital they guess whose satellites or eternal friends for all times we might be just now. In the cupboard, among the preserved fruit bottles, Stalin is still hiding. The authors of the film are cited before court, then in a showcase hospital they are waiting for the end to come. A Soviet soldier-maid closes the film with a Péter Nádas-quote.