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.
János Bátky, the 'doctor of superfluous sciences' spends his days researching the secrets of the Rosicrucians in London's libraries. At night, he delights in the 'modest' everyday pleasures of the fairer sex. The philologist, following up on a hot lead, arrives at the Pendragons' mystical castle in Wales, where the true 'alchemist', the 18th Earl, works on his legacy in creating a homunculus. At the same time, St. Claire, the earl's onetime beautiful lover tries to obtain his sizable inheritance. Based on Antal Szerb's arresting detective novel, the film is rich with erotic motifs: Bátky, who is played by Latinovits, finds just as much excitement in an ancient text as he can from women. These women provide the opportunity to study the aesthetics of love techniques. Meanwhile, the relationship between the earl (Iván Darvas) and St. Claire (Teri Tordai) reveals black magic and ancient secrets.
Presented by: Palace of Arts, MaNDA
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