A young man has set enough money aside to live well without having to work for a while and spends his days riding cabs, flirting with ladies, and gambling on pinball games. This film follows his aimless days and nights.
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In the periphery of New Wave (Godard, Eustache), Jeles' film is a stunning cinematic experiment on disjunctive storytelling, shot in extremely bold visual style, which prefigures the weirdness of many a contemporary film. Here, it is the twilight of the idols in Hungary, which in Jeles' vision, is without anchor, epitomized by the young drifter, by acerbic vignettes and by an extraordinary finale of expendability.
The seemingly naive carpe diem-esque slice-of-life following a day in the life of a spendthrift slacker spent in aimless drift through the streets of 70s Budapest reimagined as socialist Utopia marks the birth of probably the first antifilm in Hungary: a charming attempt at Godardian deconstruction of the prior social realist documentary conventions of the Budapest School.
The last of the no mohawks. Bresson-esque solitude and dreamlike hyperreality in the first Hungarian art-punk film. Debut feature of András Jeles, one of the most interesting directors you will ever be likely to come across. (The synopsis is way off, btw.)