János Tóth

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 recounts the adventures of three lovable animals, a Viszla, a Dachshund and a northern goshawk. The animals are accidentally taken to the shores of Lake Kis-Balaton, where many surprises and adventures await them. Created in 1958, it is a classic of Hungarian nature film, generations have grown up with it, and today's children still enjoy the story of Ficko, Pletyka and Nimrod in a beautiful setting.

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.

Most of her colleagues take Mária, the new teacher to be a communist party-worker, only Irma and the drawing teacher Zoli treat her kindly. Mária starts working with great enthusiasm, and her class learns to love her in a short time.

A brothel in a small Hungarian town becomes the home of a medical student after his favorite working girls find out he's out of rent money. Trouble brews as they learn his mother is coming for a visit and they must transform the house.

Following his wedding, Feri left the co-operative and is now working on the land of his father-in-law. Tóth is extremely wilful and thrifty, working from early morning to late night, pushing his family as well.

Shreds and fragments of film poetry that make its own place on the edge of a document film. The film is a college of dialogue between nature, abandoned country, and human fancy.

Twenty-five films from twenty-five European countries by twenty-five European directors.

The candle as light, photography using light, refraction, motion picture, that is, the film poem-like recollection of the magical world of cinematography.

The extreme forms of light experiments conducted with candles in the intersection of early cinema and avant-garde experiments. The film image is the unforgettable, self-reflective stratification of abstract studies.

Karoly Makk's heartbreaking story of two unmarried sisters who cast wistful glances back at their lives, but still believe in hope and love, earned an Academy Award Nomination for Best Foreign Language Film in 1974. In this follow-up to the director's internationally acclaimed Love, Makk once again exhibits his extraordinary skills at drawing emotionally compelling performances from his talented female leads. Makk's film opposes the bleakness of the outside world with passion, love, and loyalty.

Based on the stories of Hungarian writer Gyula Krúdy, this film is a lush and sensuous depiction of the life, loves and memories of serial seducer Szindbád. As the protagonist looks back on his life, past and present, imagination and reality flow inseparably into one another.

Locations of László Ranódy’s film Pacsirta (Skylark) appear in the experimental etude, in János Tóth’s extreme, distorted, wide-angle footage, image associations.

The triumphant adventures of the Hungarian baron Münchausen are recounted in the form of a musical.

Aréna is nothing less than an attempt at spatial-temporal filming. It is an associative, avant-garde universe, the entire universe of the world, culture, edited into images of the masses participating in a match and then dispersing, in one- to four-frame flashes with music by Péter Eötvös.

Often called a “film poem” or a “film symphonie” Huszárik’s masterpiece consists of montages of horses from the dawn of time to the modern times from cave paintings to horse races.

Ragyogás is a polyphonic series of studies on film and light; it creates and reshapes cinema’s mythical world and language.

Watching from the stars, an all-seeing creature observes a society of sentient beans — the joys, triumphs, and tragedies of day-to-day life on their planet — until the busy inhabitants finally notice the watcher’s leering gaze.

This audio-visual universe peppered with Laozi quotations and made in Balázs Béla Studio represents the culmination of artistic self-expression of János Tóth. It is a self-selected auteur anthology of four of his experimental films.

About the life of young people in Hungary in the late 50s, their joys, hopes and dreams. When Joly entered the factory, she wanted to be as cheerful and carefree as the other girls, and she didn't tell anyone that she had a son. And now, when the wedding day with Ferenc is almost set, Yoli walks around sad and confused. She doesn't know how Feri will take the news of her son. She is afraid that Feri, who loves and trusts her very much, will never understand or forgive her. But Feri turns out to be a real man, and Yoli together with little Ali finds her true happiness.

Effects of refractional experiments put in the language of the film.