Narcissus and Psyche

Fashion film directed by Gábor Bódy. Screened in retrospective at Alternative Film/Video Belgrade Festival 2014.

Gera, a successful Romani painter rejects his token status by dramatically burning his own artwork. He returns to his marginalized community intending to implement social reforms and improve their lives. However, his modern ideas are rejected and misunderstood by his own people.

In the final days of the American Civil War, an emigre Hungarian military officer attempts to map the situation of the enemy. Many veterans of the 1848 War of Independence in Hungary fought on the northern side. Experienced Fiala, Boldogh who struggles with homesickness and the reckless Vereczky all experience their enforced emigration in different ways and news of impending peace elicits different reactions from them all.

A priest arrives in a village and give advice and comfort to different people. He meets a wheelchair-bound former representative of the Communist party, a woman who is dying of tuberculosis and an astronomer who sings in a punk band.

According to Peter Brook, all that is needed for an act of theatre to be engaged is for a man to walk across an empty space whilst someone else is watching him. Thus, an empty space becomes a bare stage. However, this raises countless questions about the relationship between reality, everyday presence and role-playing, something experimental filmmakers coming from the 1970s world of theatre dealt with in detail. Tibor Hajas explored the topic in a short experimental film made at BBS.

After the World War I, enthusiastic young people found the intellectual group of Hungarian Communist Party. Their aim is to propagate the communist ideology to the people and get the workers on their side. They have fierce discussions on the new ideas, though their movement is not very successful. They clash with their opposition, attempt to lead people to the Red Army, but without success.

An attempt to visualize a secret knowledge about the nature of man —a philo-clip—, through the use of structures of dissociated geometry and laser beams, with direct references to the Renaissance, Leonardo da Vinci and the work of Agrippa von Nettesheim.

He Saw Her Burning, which is based on a 1983 performance, is a provocative narrative collage, a surreal juxtaposition of two narrated texts. A man and a woman begin their respective tales: He saw a woman burst into flames on the street; she saw an American soldier go berserk and drive a tank into a crowd. Produced while Jonas was living in Berlin on an artist's fellowship, the disjunctive narratives are pervaded with a sense of cultural dislocation and alienation. The man and woman occupy separate narrative spaces as they tell their stories, which are intercut with a pastiche of word games, narrative reenactments, filmed sequences, isolated gestures and objects. Memory — elusive and ephemeral, personal and collective — is the catalyst for this complex work.

An early short film from Gábor Bódy.

The classic Faustian tale transposed to the realm of the digital.