This work on a joint at once of several genres of the modern art - music, cinema, a video art - so him it is possible to show not only in cinema halls, but also at exhibitions. In the movie... See full summary »
1962-ben, amikor Gagarin urrepult es csaknem kitort a harmadik vilaghaboru, nalunk mar jo ideje nem tortent semmi es ugy nezett ki, hogy meg vagy harminc evig nem is fog. De, hogy ... See full summary »
We see people in a shopping mall; one man deliberately leaves a backpack behind in the crowd, which, in these nervous times, is decidedly unsettling. Seven vignettes involving the people we've seen are told. In the first segment, a young woman is annoyed to find a stranger has invaded the apartment she shares with another girl; he has brought with him a dog, which he says he will leave behind with the women, as it's his intention to commit suicide by setting himself on fire; he carries a petrol can. Story two involves two young men discussing a car they have probably stolen, but we never get to see the vehicle. Then comes the section, in which a husband complains to his wife that their 10-year-old daughter was kissed in a sexual way by one of her friends; the wife then accuses the man of invading the girl's privacy as she was showering, and we eventually see the child is secretly eavesdropping on the disturbing conversation. In subsequent segments, a couple of fishermen tell a tall ...Written by
Director Benedek Fliegauf followed most of the rules laid down by 'Dogma95' and described his film explicitly as a "Dogme film". In June 2002, the secretariat of the 'Dogme95' movement founded by Danish filmmakers in 1995 was dissolved. By that time, a total of 31 official certificates had been awarded to films that applied the Dogma rules. In the meantime, the copyright on the term "Dogma film" has been lifted, and anyone can now make films according to the criteria of the so-called "vow of chastity." See more »
I saw Rengeteg/Forest five years ago at the Toronto International Film Festival and I still clearly recall the mounting anxiety that each segment provoked and the intense feeling of disquiet I felt at its chilling conclusion. The gritty grainy quality of the image, the seemingly raw sound, provide an almost documentary feel--but the conversations among the characters are stylized and enigmatic, and grow dark, unsettling and surreal. The film seems defiantly uncinematic until you observe how what you're being shown contributes to the viewer's increasing disorientation and discomfort. I hope director Bendek Fliegauf has met with the success in his film-making career, as he is certainly a talent to be reckoned with.
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