Realização:
György FehérElenco:
Ildikó Bánsági, Djoko Rossich, János Derzsi, István Lénárt, László Gálffi, Zoltán Bezerédi, Géza Bereményi, Dénes Újlaky, Péter Haumann, Imre Csuja (mais)Sinopses(1)
In the story which is placed in Hungary of the thirties, the old husband has a car repair shop, the young man is the helpmate. The woman and the mate are encouraged to murder by a passion arisen between them. Their unsuccessful attempt ends in the hospital for the husband. The lovers leave the husband's house in the hope of a new life, yet the woman turns back from half way. The returning husband knocks the mate down and everything remains as it was. They go to town in three, the husband takes out a life insurance policy. On their way home the mate kills the husband who was just leaning over the hub of the car. The car pushed into an abyss with the dead body sitting in it, wounds him seriously, too. The attorney finds out what happened and accuses the man with murder. Having made the two lovers quarrel, the woman confesses everything. Yet at the trial the charge is dropped as it suits to the insurance company and the woman receives the amount due for the life insurance policy. The counsel retains his share from the money, then the copier clerk present himself for the rest. They do away with the blackmailer in joint forces, yet they become fed up with each other: the couple starts fighting with hatred. The woman suddenly announces that she expects a child. They celebrate their reunion by dancing in the amusement park. On their way back home both die as the car crashes into the abyss. (texto oficial do distribuidor)
(mais)Críticas (1)
It is going to sound corny, but every long and masterfully composed shot in this film has the weight of Old Testament rigor. The austere and strict testimony of guilt, punishment and a law above the law stands out for its fantastic camera, the unforgettable choice of central characters, fascinating work with sound (the second plan infiltrates the atmosphere of the first as a phantom) and, above all, the brilliant directing of all this. Although the film ends with a stern quote from Revelations, there is still a certain significant dynamic herein that arises between the prophecy of a laconic prosecutor and the soothing of a slickly pandering priest. Fehér responds to the aporia of forgiveness/unforgivable sin with a heavily ceremonial and fascinating cinematic language, which is also used, among others, by Béla Tarr. Contemplative ecstasy which apparently blooms exclusively in Pannonia.
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