Almanac of Fall
(1984, feature, 35mm, colour, 120 min., 1:1,33, Mono)
Director of photography:
Társulás Film Studio
Miklós Székely B.
On the basis of the gestures seen in the film, we appear to be witnessing an act of penance: The cutting of nails, beard and hair, or the propping up of the drunken friend, the injection and back massage are all signs of this. First we believe that the people in the film are humane, then we realise that all this is no more than a terrible hypocrisy in which all actions are motivated by two interests � Hédi�s money and Anna�s body. This well-known eternal truth (that all actions are driven by money and sexuality) takes on a cruel aspect when the men try in vain to defy it and remain enslaved by these two vices, as well as by the apartment which is symbolically filmed from all perspectives � from the sides, above and below � with the floor occasionally replaced by a sheet of glass. The social housing cell (the characters of the first films founder in their slummy apartments) takes on an ontological nature: life as a prison, the shutting in of the space represents a denial of the existential alternatives. They can choose neither morality nor their own actions. They must simply survive.