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.
The film, which won the best director award in Cannes, shows the agrarian socialist movements of the turn of the century as a series of choreographed, collective dances. In its liturgical and mythical depictions, the actual stories become figurative, and Jancsó "creates” from the songs, dances and costumes a cultural heritage for the high country around Lake Balaton in which ancient peasant myths blur with those of the worker's movement. In this lyrical abstraction, not only do water, wheat, blood and nudity become symbolic and "storified”, so does death itself. In the film's major scenes, it is typical of Jancsó for nudity to appear symbolically. The girls partially undress in front of the soldiers marching against the agricultural strikes, with doves in their hands and on their shoulders. Their nudity, as always with Jancsó, is a collective symbol, here it stands for innocence, for helplessness and for the power of life over death.
Presented by: Palace of Arts, MaNDA
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