Sándor Badár

1839. The discontented noblemen assemble at the country estate of count Gábor Falussy, on the pretext of a boar hunt. Also an English engineer arrives for the sake of constructing the railway line leading up to the count’s quarry.

A pretty mixed society get together in a camping area. They enjoy their vacation and do not know that two of the vacationists are demolition experts, who are looking for a huge bomb which may explode in any minute. Written by Tamas Patrovics

A subway enforcement officer working in the oppressively gray Budapest metro gets a chance at love — but first he needs to find out why passengers are jumping — or being pushed — to their deaths onto the tracks.

Four good old friends - all railwaymen until the change of regime - will be the victims of the cutbacks. Many years later, when the old station has been removed by thieves, the former stationmaster of Honos village, Lajos Zsuzsa, receives a notice from the town to go to the station office. Lajos Zsuzsa, in order to get the four friends occasionally back to work, lies that the station still exists and that they are able to carry out their duties.

Geri’s life flashes before him in the “Buhera Matrix,” a cringe-worthy slideshow of childhood photos from Pioneer camp to prom night. He relives the absurd clash between Mickey Mouse and socialist youth rituals, debates the perfect horse-chestnut hole size and survives the notorious fruit-game initiation. As the disastrous graduation and its Bavarian-style sacrifices cap off his painfully vivid memories, the film spins forward through Hungary’s late-20th-and-early-21st-century history through the eyes of a ’70s-born generation.

Daniel’s drab existence as a physics teacher takes an adventurous turn when he falls in love with a Turkish girl named Melek. He spontaneously decides to follow her to Instanbul by car. On the road across Europe, he picks up his free-spirited friend Juli, who is secretly in love with him.

In this Hungarian comedy post communist materialism is satirized. Someone in Hungary has won a large screen TV set. As they live in the country, it must be delivered from Budapest upon the back of an abandoned Russian military truck. The TV is turned on so that all the truck passes will see its perfect picture and hear its messages.

Russians, westerns and Hungarians live unique moments in post-89 Hungary.

A disowned son of a Greek aristocrat arrives in Hungary in 1949 over his family’s communist beliefs and starts work in the Lágymányos tobacco factory, where he falls for Gizi Weiss and fathers their first child in 1953. Fifty years later, the now-destitute “Ratkó baby” is whisked from the Baross Square underpass to Crete by a legion of lawyers to claim his share of a legendary inheritance.

The story of hopelessness, which is independent and politics. Symbolic little people are faced with the absurdly large accelerated world. Resolutely themselves taken up the challenge, bravely struggling against fate ...

It is 1989, the year of the demise of socialism in eastern Europe. Nevertheless, the one theme of Junk Movie does not refer to this historical moment of high ideals, quite the contrary, the wild, burlesque of a motif-mozaic seems merely to stick it’s tongue out at the arrogant players of politics who have their heads stuck in the clouds. The film rudely points out the mystery and unapproachability surrounding the every-day existence of politics. The scene is a greasy, falling-down block of a pub called the Gólya and its immediate surroundings.

László Dömötör, the divorced registrar, cannot get rid of his ex-wife any more than he can get rid of marriages. He is desperate to find new love, with little success. After Dömötör gets drunk as a tension reliever at work and turns one of his weddings upside down, his boss fires him. On his way out, he catches a glimpse of Norbert Lázár, an up-and-coming, semi-secret producer who runs nightclubs. Unconfirmed reports say he died in Africa. The man looks exactly like him. All of this spurs him to a crazy idea. A modernised adaptation of the 1942 comedy.

In an effort to end family feuding, a young gypsy travels back in time to kill mammoths to ensure Hungary becomes rich by killing mammoths in order to create a massive oil reservoir. Things don't go entirely according to plan...

A priceless archaeological find, the “Mother of Barcika”, is loaded onto a special train to tour Hungary, only for fate to derail it at the sleepy Ivaros station. There, the engine, a gendarme, the relic and its guards all end up stranded in a pigsty, igniting chaos: the relic is gambled away, the station master loses control, and the local mayor’s daughter finds unexpected love. In the ensuing mayhem, rivalries, romances and small-town intrigues all collide until order is somehow restored.

The peanuts are few, a little late, some of them not knowing if they have arrived at the right time, if they are doing the right thing, if they have chosen well, and what the future holds. In the meantime they eat, slaughter pigs, make love, sleep, yearn, listen to peanut songs, die badly, even their cameras are made of wood. It's a bad film because it doesn't accurately articulate and show what the message of the peanuts is; it's often sentimental and gets bogged down in detail, one young man said it was 'so old'. When we were editing it, I realised the peanuts were very much like me, so the faults are in me. Maybe it's just that I can't separate professionally, and it's hard to change, even though I've tried, to my pioneering credit. I thank Adilla, Keva, Löhöl, Kadica, the Girls, the Karcsi, Tibi, Sabi, my brother Szanyi for helping me to understand that we should change together.

On the occasion of the 20th birthday of the Dumaszínház, the cream of Hungarian stand-up comedy came together to celebrate the anniversary with a grand gala. The special performance _ which took place on 25 November in the MVM Dome _ will be broadcast exclusively on VIASAT3 on 1 January, to start the year in a guaranteed good mood. Among others, comedians such as Sándor Badár, László Hadházi, Péter Janklovics, Ádám Kiss, Péter András Kovács, Zoltán Kőhalmi and Eszter Ráskó will provide moments of laughter.

A mythical “hen” rises from the factory canteen’s lake to gobble the golden egg that Marinka, the lunchroom maid, discovered in the ketchup—an egg that was supposed to launch an American-Hungarian joint venture but went missing amid corporate scheming and a police probe into a mysterious “spillage.”

Before Dawn has a single shot which is several minutes in length. Technically this is immaculate, visually it is stunning. The story is set in a field; where the field is we don't know, but a lone truck drives up into the field and stops. A horn beeps and from beneath the long grass thirty of so people appear and proceed to enter the truck. We take it they hiding from something and this is their doorway. The truck leaves, but only to be greeted by a mass of police and even a helicopter blocking their path.

In Budapest’s Sixth District stands the “Noah’s Ark”, a “dirty-beautiful” tenement housing thirteen flats filled with a rapper, a poet, a washed-up footballer, an unfaithful wife, three aspiring actresses, retired cinema director Stock Ede and his home-bound octogenarian friend Aurél Tálas. When Ede, long disgusted by TV game shows, shocks everyone by entering “Hungary’s Best Grandpa” contest for a 5 million-forint prize, the building erupts in excitement.

Two young marrieds (Rafael Istvan Kovacs, Julia Muller) live in a small town in southern Hungary where jobs are hard to come by and gypsies are willing to do menial labor for a bowl of soup. Everyone lives in fear of an ugly eccentric, nicknamed the Dwarf, who collects the electricity payments and has the power to cut off households' juice. Derek Elley

Although together they have been known as a legend in the world of gastronomy, András and Éva have recently divorced. After their marriage is over, Éva is about to keep their famous restaurant at the coast of Lake Balaton, "André". Meanwhile, András opens his own restaurant in the same village, in the backyard of a house.