Tamás Banovich

Looking for a safe place to live after being harassed by her husband, a depressive and violent man, Juli stays at a women's shelter run by Mária.

Based on a true story, a love affair develops between a half brother and half-sister. When pregnancy results and word gets out the public is outraged.

After the failure of the Kossuth's revolution of 1848, people suspected of supporting the revolution are sent to prison camps. Years later, partisans led by outlaw Sándor Rózsa still run rampant. Although the authorities do not know the identities of the partisans, they round up suspects and try to root them out by any means necessary.

Kalán Imre, the district doctor lives in a small village surrounded by mountains. One day he is visited by two young relatives of his and their friend, a doctor at the beginning of his career. The name of the doctor is Király András, and he happens to be the great love of Kalán's young wife from her unmarried years. The orthodox Stalinist Kalán's entire life is filled with his great passion, hunting. The suffocating, narrow lives of the prominent people in the area are slowly revealed to András.

The State Folk Ensemble has performed the dance game more than a thousand times, and it has traveled all over the world. The short film was shot in Ecser, Gyömrő, Dabas and in the capital, in the studio of Magyar Filmgyártó Vállalat.

Lena Kuchler, a Holocaust survivor, searches a Polish refugee camp for lost family members in the months after the war but instead finds 100 starving children with nowhere to go and nobody who wants them. She takes it upon herself to care for them, leading first to an isolated retreat, where they encounter antisemitic violence, and ultimately, to an exodus to Palestine.

Set in the 1890s on the Hungarian plains, a group of farm workers go on strike in which they face harsh reprisals and the reality of revolt, oppression, morality and violence.

Stephen, living in a troubled family, breaks into a grocery store and wreaks vandalism. He is sent to a reform school. Later he works in a cleaning brigade and accidentally meets József Draskóczi, who denounced him. Draskóczi lives in an unloving, troubled atmosphere with his barren daughter and cynical son-in-law, ascetic about his youthful communist beliefs. He feels responsible for Istvan's fate, offering him a human voice and love. Despite his daughter's hysterical jealousy, he sends Istvan to school and then, through his previous connections, provides him with an apartment...

A Roma laborer living in a shantytown strives to organize a traditional, dignified funeral for his wife following her sudden death. He travels to the city to secure the necessary funds and arrangements, navigating various bureaucratic and social obstacles along the way.

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.

In 1866, the Szendrey family gathers for the name-day of Júlia’s sister, Mária, but the event dissolves into bitter grievances and the physical decline of the household. As the dying widow of the poet Sándor Petőfi, Júlia struggles with a failed second marriage while Mária grapples with jealousy over her own husband’s love for Júlia. The family’s fragile unity finally shatters under the suffocating weight of Sándor’s heroic legacy and the pervasive shadow of illnesses.

Set during a turbulent era of disquiet, fear, persecution and terror, which permeates every corner of post-WWI Hungarian society. In 1919, after just a few months of communist rule the Hungarian Republic of Councils falls victim to a nationalist counter-revolution. Admiral Horthy, leader of the nationalist far right movement, becomes the self-proclaimed regent of Hungary, and assumes power as the legal Head of State. Soldiers of the short-lived Hungarian Red Army are now on the run from relentless secret policemen and patrol units of the nationalist Royal Gendarme. If caught, ex-Red Army soldiers are executed without mercy or proper trial. István Cserzi, a former soldier of the Red Army has fled to the Great Hungarian Plains and has taken refuge on a farm, which is run by two sympathetic women.

Three generations live side by side. The wilful, jack-in-all-pots grandmother blackmails the family with fake faintings, while grandpa suffers from cerebral sclerosis. Mother manages a fashionable hotel, she needs to look smart and unyielding, even when their weird uncle drives into the restaurant drunk. Father is an introverted, solitary teacher, who from time to time turns the home inside out in pursuit of his hobby, i.e. topography, and his mental balance. Suddenly unexpected things come to light about their teen-age daughter, Juli.

The story of Bálint Balassi, the poet and warrior. The scene is Hungary at the end of the 16th century. The soldiers stationed at the castles of Hungary's border defence-system spend their days with anti-Turkish raids, hunting and womanising.

Allegory of the suppression of the 1919 revolution and the advent of fascism in Hungary; in the countryside, a unit of the revolutionary army spares the life of father Vargha, a fanatical priest. He comes back and leads massacres. A new force, represented by Feher, apparently avenges the people, but only to impose a different, more refined and effective kind of repression.

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.

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.

The dance play is based on the legend of the girl who was danced to death. Using the tools of folk dance, classical ballet and modern dance, the three parts tell the tale of the black man's spell that takes the girl away from her lover in a setting of folk tales, 18th century Rococo and the 1960s metropolis. But in the modern world, in the ballroom bustle of the last part, the girl is no longer alone, but with the help of the other young people, she is freed from the magic of the red shoe and manages to stay with her lover.

Juli, who works in a brick factory, begins a romantic relationship with her boss, to whom she hides the fact that she has a son.

It has been fifteen years since the death of her father, Agamemnon, and Elektra still burns with hatred for Aegisztosz, who conspired with Elektra's mother to kill him.

A historical drama set in the 1400s, a young man sent to Italy but is forced back after his father's mysterious death.

An unsentimental Hungarian film about the edgy relationship between a middle-aged woman and her young, restless daughter-in-law when the son-husband goes to sea for six months.

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.

A couple in love, but sadly married to other partners. What is to be done? A diagnosis of a comfortable but profoundly incapable society, a Hungary suffering from an endemic private life disorder, observable both among the urban middle and the rural lower classes. A descent into a relationship’s demise, more from the tired inertia of a country that has lost all direction and sense of purpose than any ill will.