There are more and more programs that are launched to acquaint city people the farmer lifestyle and agriculture. In the Countryside Adventure programme youngsters from big cities spend a week at a farm, where they have to work on the fields and deal with animals. But what happens if one of them decides to become a real farmer? Does he have any chance to launch his own business?
An elderly lifeguard gets his medical diagnosis. He has to indulgence himself from any sport activity. This would not be a problem, if our lifeguard wouldn’t be an enthousiastic swimmer coach and ex olimpic champion, who is racing with his younger self from night to night, not beeing able to make peace with himself. A melancholic memento about a lifeguard who’s arch enemy is time, in terms of his neglected marriage or the missing of his own life. Our movie examines the down of a succesful man’s life. Is a winner really a winner?
Sadly, it appears that rape has become an established part of war, perhaps the most brutal exponents of which were the Soviet troops who occupied Hungary in 1945. Extensive research into records from STD clinics shows that hundreds of thousands of Hungarian women were raped during this period. The severity of the situation is also highlighted by the fact that abortion was made legal shortly after the Soviet occupation.
It proved particularly challenging to make a film on this subject as although many people know about the atrocities committed by Soviet soldiers, very few people are willing to talk openly about what actually happened. Victims were extremely reluctant to talk about what had happened to them and often kept it a secret from their families.
Our film crew retraced the tracks of the Red Army across Hungary and questioned eyewitness, relatives and victims about their treatment under Soviet military occupation. All the stories began much in the same manner: innocent civilians hid from the soldiers in cellars and attics, and the girls made themselves ugly, filthy and smelly to deliberately discourage advances from Soviet troops. But then drunken soldiers appeared at the door and dragged women away leaving them severely mentally or physically damaged by the violence and brutality of their attacks in an atmosphere of shame and accusation.
We spoke to Soviet veterans, historians, psychologists and victims, and tried to discover what it was that made men act in such a cruel and unforgivable manner. What did years of combat, killing and alcohol do to a man?
Rape does not cause sexual pleasure but is an act of extreme violence and control perpetrated against unarmed and vulnerable women. The added bitter irony of the situation is that the victorious army remained in Hungary for a further 40 years and, along with the Hungarian Communists, were celebrated as the nation’s liberators. This then meant that victims were forced to conceal the truth about events to avoid punishment and discrimination by the ruling regime.
The film also highlights the fact that there are still those in Hungary who celebrate an army that invaded a nation and raped its womenfolk. The victims have never received compensation and documentation has never been released from Russian military archives presumably because those responsible for such acts of acute brutality could still be brought before a court of law.
This film is based on the writer and director’s personal grief. Fruzsina Skrabski started to make the film after her father died and sadly also lost her mother while the film was being made. The questions she asks are the ones everybody has. We all want to know what happens before life and after death but we only ever give these questions any serious thought when we or someone we love has an encounter with death.
When does life begin? From what point does a person possess a soul? Does such a thing as the soul actually exist?
Is abortion equivalent to murder? What happens after a person dies? Heaven? Reincarnation? Nothing?
The director examines these questions with the help of a Catholic priest and a Buddhist monk, a materialist, a gynaecologist, a test-tube baby, a researcher studying near-death experiences, a incurably ill patient and anyone who she thinks might be able to supply her with an answer.
She then places these people in front of one another. She provokes the Catholic priest to tell the test-tube baby (now a medical student) that he should never have born in the first place. She asks the materialist what the term “soul” means to him and how he would deal with the death of someone close to him. She visits a mortuary and tries to find signs to show when and how the soul leaves the body. A dying woman is interviewed who speaks about what she expects from death who sadly died shortly after filming was completed.
The film endeavours to remain neutral and provide viewers with the freedom to decide which view they consider closest to their own.
The aim of the piece is to provoke the younger generation and provide help to those expecting a baby or dealing with loss who are keen to find out as much as they can about the mystery that surrounds the division between life and death.
The film starts with the meeting of two hands. They fall in love and the union of the two gives life of a little one. The tiny hand grabs the parent’s finger, discovers his own motions. He holds objects and gains knowledge. Improves. Starts to eat and drink independently, creates his first drawings. Then he finds friends, starts the school and the little child grows up to be a boy. We show the adolescence’s first successes and failures, while we place the emphasis still on the hands. Like in the life of a youngster, music, party and love appears in the movie. Adulthood starts and the love of his life becomes marriage. The easy and droll years are replaced by the years of parenthood, until they finally become grandparents. Years go by and the hardworking hands turn motionless.
The experimental short film portrays the life from the perspective of a hand. We see the happy moments and the conflicts of daily life. The touching movie tries to draw attention to the importance and beauty of the small, everyday events in life, supposed to be insignificants.
Director: Borsody István | Kiss Sándor | Producer: Skrabski Fruzsina |
Cameraman: Kiss Sándor |
Production manager: Janovics Zoltán | Kopp Krisztina |
Length: 7 perc Language: Hungarian