Hungary

Sunshine

Although Sunshine was made by a Hungarian, István Szabó, and deals with the history of Hungary as refracted through three generations of a Jewish-Hungarian family, you might be more inclined to give it three hours of your own life if you approach it as a David Lean movie in spirit. It is an English-language picture, and Maurice Jarre's music recalls his score for Doctor Zhivago. Szabó emulates Lean's intimate-epic style of merging the sweep of history with the crystalline detailing of individual lives, so that the shape of destiny is glimpsed through personal moments that feel at once evanescent and eternal. His lighting cameraman, Lajos Koltai, is one of the handful of cinematographers equal to capturing these moments in lapidary images--cinematic sunshine of the highest order.

"Sunshine" is a literal translation of Sonnenschein, the family name of the central characters. And "destiny" is one meaning of Sors, the name three Sonnenschein offspring choose for themselves to better assimilate as subjects of the Austro-Hungarian empire. Two are brothers, Ignatz (Ralph Fiennes) and Gustave (James Frain); their sister (by adoption) Valerie (Jennifer Ehle) is really their cousin. Both men love her, and Ignatz rocks the ultratraditional family by taking her as his wife. Nevertheless, the Sonnenscheins and the Sors enter upon the 20th century in loving solidarity, grateful to live under a liberal and tolerant regime. That's all swept away by the Great War, the rise of Nazism, and its replacement, the new fascism of Stalinist Communism. Valerie survives them all--though she's played later on by Rosemary Harris, Ehle's own mother. For his part--or parts--Ralph Fiennes goes on to embody two later generations of Sonnenschein/Sors men, the proudly patriotic Adam and his son, the rudderless Ivan, whose guilt over being a compliant prisoner at Auschwitz leads him to buy into the passionate puritanism of the Stalinist purges. Fiennes rises to the awesome challenge of creating three utterly distinct characters who all share the same congenital weaknesses and aching potential for greatness.

This is a film of considerable beauty and sometimes shattering power. Even three hours is not enough to do justice to all the characters, all the wrenching turnarounds of history and political allegiance and rectitude. But the film is never less than gripping, and as an essay on "family values," it's well-nigh definitive. --Richard T. Jameson

Fateless

Based on Imre Kertesz's prize-winning autobiographical novel SORSTALANS G FATELESS is about a 15-year-old Hungarian Jew interred at Auschwitz.System Requirements:Running Time 140 Mins.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 821575546652 Manufacturer No: TF-54665

Kontroll

The setting of Kontroll is the Budapest subway system, one of the largest and oldest in the world, and a place that becomes an omniscient character in an ambitious film that jumbles dark comedy, slick action, and horror-movie conventions. The other main character is Bulcsú (Sándor Csányi), part of a team of disheveled ticket inspectors--controllers--who roam the grimy, fluorescent-lit city-under-the-city in a soul-destroying ritual. The job has become such a part of Bulcsú that he never leaves the underground. He has taken to sleeping on empty platforms and getting progressively more unkempt as he accumulates more bruises, bloody noses, and bitterness from his scraps with a variety of unseemly creatures of the night (and day). Among the post-punk, post-communist habitués of this subterranean metropolis are a cute girl in a teddy-bear suit, a rival gang of ticket inspectors who like to play a deadly game of chicken with express trains, and a hooded specter who may or may not be pushing people under subway wheels at crowded stops. First-time director Nimród Antal keenly juggles black comedy, character types, and genre styles, making the most of the weird angles and inherent dark creepiness of his chosen backdrop. Kontroll keeps pace as a hip, flashy, fast-moving set piece by any international measure. --Ted Fry

The Budapest subway system, the world's oldest, is a dark labyrinthine netherworld as vast and various as the city above. Hordes of people pass through on their way to better, brighter places. There are some who spend most of their lives underground- the ticket inspectors or "Controllers" who are assigned in teams to sections of the system and whose thankless job is to ensure that no passengers ride without paying… Deployed by those in control- they are a much-despised lot…who on his way wants to be stopped and asked for a receipt by petty officers that represent power at its most powerless.

Max

The dark connections between art, desire, and evil fuel Max, an alternate-history fantasy that imagines what might have happened if a Jewish art dealer named Max Rothman (John Cusack, High Fidelity) had befriended Adolf Hitler (Noah Taylor, Shine) when he was a frustrated artist, before he turned to politics to vent his hatred. Some critics have expressed fear that even to attempt to make Hitler understandable is to diffuse or dismiss his malignancy; but watching Hitler vacillate between Rothman's attempts at mentorship and the encouragement of an ambitious military officer demonstrates the pettiness, desperation, and craven need that can bring horror into the world. Cusack portrays a generous man with simple decency and not a trace of grandstanding, but Taylor--with glittering eyes and lips twisted with bile--is both fascinating and repellent in an impressive performance. An intelligent and complex film, Max deserves to find an audience. --Bret Fetzer

Underground

This sprawling, exhausting, deeply moving Palme d'Or winner represents the pinnacle of Serbian director Emir Kusturica's considerable abilities, and what is easily one of the best cinematic achievements of the 1990s. It encapsulates 50 turbulent years of Yugoslavian history, from the outbreak of World War II in the 1940s to the destruction of this once-great nation in the 1990s.

When we first meet Marko (Miki Manojlovic) and Blacky (Lazar Ristovski), it's hard to take these jokers seriously. All they want to do is party their lives away. But the Nazi shelling of Belgrade changes everything, and the resourceful duo comes up with an ingenious plan--one will stay aboveground while the other goes underground. The arrangement represents an ideal opportunity for all concerned: Blacky, his wife, and the rest of their friends and neighbors will be protected from the chaos going on above, while Marko and the lovely Natalija (Mira Sorvino look-alike Mirjana Jokovic) will sell the weapons they're making down below. Everyone will share in the profits.

But Marko commits the ultimate act of betrayal--against Blacky and the rest of his subterranean comrades. This sort of deception can only lead to tragedy, and Kusturica doesn't spare us the details. In fact, it's his eye for detail that makes Underground such a memorable experience--the perfect note his cast strikes between the extremes of physical comedy, passionate romance, and mortal pain, the insidiously infectious brass-heavy score and the strikingly colorful images.

Underground is basically a parable, and doesn't always adhere to the laws of physics. It isn't for the literal-minded, the impatient, or the partisan. It's loud, it's long, and it isn't for the easily offended. It may just also be one of the saddest movies ever made and stands as a fitting tribute to a country that exists only in the hearts and minds of its former residents. --Kathleen C. Fennessy

Wagner - The Complete Epic

Over a hundred years after his death, Richard Wagner remains an enigma. His was a rags-to-riches saga with a fairy tale ending. He was loved, yet hated; admired, yet despised. He was a heroic villian who was worshipped and whose fame and exploits were the gossip of Europe. Above all, he was an incurable romantic whose affair with Liszt's illegitimate daughter rivals that of Romeo and Juliet. But he was also a dangerous political revolutionary whose influence penetrated the fabric of German society in the nineteenth century. He was a legend in his own lifetime, and he was one of the greatest composers to ever live. Only an actor of the stature of Richard Burton could measure up to the titanic character of Wagner, and this proved to be his final film role. Academy Award winner Vanessa Redgrave co-stars as Cosima, Wagner's second wife, a woman who had a dramatic impact on German history until her death in 1930. The incredible supporting cast also includes screen legends Sir Laurence Olivier, Ralph Richardson and John Gielgud. Filmed in wide screen 35mm Dolby Stereo, this major drama production is one of the largest East West co-productions ever undertaken.

Shot Through the Heart

Two friends, each champion marksmen, are on opposite sides in war. One turns sniper for the enemy. One remains their town's last line of defense. In a terrible battle for power, two best friends must pull the trigger. Only one will feel the bullet - but both will feel the pain.

All the Queen's Men

All the Queen's Men has the makings of a broad comedy--in particular, it features men in dresses. At the height of World War II, American agent Matt LeBlanc (Lost in Space, the TV series Friends) leads an oddball team behind enemy lines to steal a Nazi code-making machine; the trick is, the factory where the machines are made is entirely staffed by women, and so the team has to go in drag. But despite this seemingly farcical premise, All the Queen's Men is strongest in its dramatic elements, such as a scene in which the team is delayed when Allied airplanes bomb Berlin, forcing the undercover operatives to see the havoc of war from the other side. LeBlanc is the weak link; the rest of the team (David Birkin, James Cosmo, and brilliant comedian/transvestite Eddie Izzard) navigate the film's unstable tone and numerous implausibilities with considerably greater skill. --Bret Fetzer

WWII spy comedy. An American army officer (Matt LeBlanc) leads a mismatched team of British Special Services who must go in disguise as women and infiltrate a female-run Enigma factory in Berlin and bring back the decoding device that will end the war. The team, with the exception of one member who happens to be a drag performer (Eddie Izzard), must learn the basic skills for completing their mission, like walking in heels and applying lipstick. The American and his team stumble through the German factory in full drag, barely escaping the clutches of German soldiers, while attempting to complete the most important mission of their lives.

Abandoned

Nine-year-old Aron finds himself abandoned at a bleak orphanage by his recently divorced and despondent father. The ultra-strict nature of the institution comes as a complete shock to the boy, and he must frequently endure beatings both from the staff and the other boys. He finds solace in a special relationship with his young classmate Attila. And that sexual awakening gives him the courage to lead his peers in revolt. In Hungarian with English subtitles.

Awards / Festivals: Best Foreign Language Film - Official Academy Awards entry from Hungary, Grand Prize - Montreal World Film Festival, Alfred Bauer Award - Berlin International Film Festival - Official Selections: Chicago, Toronto, Vancouver, Sydney International Film Festivals (among many others)

The Red and The White

Miklós Janscó takes the romance out of Russia's Revolutionary struggle in this simultaneously beautiful and brutal look at the civil war following the Bolshevik coup of 1918. Set in a remote region of Central Russia in 1919, The Red and the White follows the shifting balance of power around an abandoned monastery. The anti-Bolshevik White Army has embarked on a campaign to completely eradicate the area of Red Army soldiers, and scores of Hungarians, former Bolshevik prisoners thrust into battle, are caught in the middle. The graceful camerawork and lush, lovely landscape captured in stunning black-and-white widescreen stand in sharp contrast to the abrupt on-the-spot executions and sadistic cat-and-mouse games of the White Army, hiding behind a mask of politeness and civility as they line up their next row of victims. But Janscó's portrayal of the Bolsheviks, while decidedly more heroic, isn't much more sympathetic. The dreamlike poetry of Janscó's cinema and the surreal atmosphere of doom carries the film in place of a strong story or a central set of characters, but there is no mistaking his sympathies for the victims of the struggle--peasants and prisoners and civilians caught between collision of two armies, systematically stripped of their dignity and their lives as the battle rages around them like an evocation of hell on Earth. It's a brave stance for a Hungarian filmmaker working on Soviet soil in 1968 and it makes for a powerful film. --Sean Axmaker