The Man from London

A young boy plays an accordion in a shopping mall. Béla Tarr picks up the camera one more time to shoot his very last scene. It is his anger about how refugees are treated in Europe, and especially in Hungary, that drove him to make a statement.

A monumental windstorm and an abused horse's refusal to work or eat signal the beginning of the end for a poor farmer and his daughter.

Revisits of locations on the Great Hungarian Plain - the puszta - that were used in Tarr's Sátántangó and Werckmeister harmóniák. Recitations of short lyric poems by Hungary's national poet Sándor Petofi.

Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away...

Collection of documentary shorts by various acclaimed directors

Early short film by Béla Tarr.

Presents moving images of society’s outsiders, the impoverished and oppressed, whose lives are contrasted with the opulent surroundings of contemporary Vienna.

Using verite conventions, a young couple with a baby and a child are worn away by the monotony of their lives.

Családi tüzfészek (aka Family Nest) is an intimate portrayal of a family slowly disintegrating under various pressures in late 1970s communist Hungary. The plot of the film is deceptively simple, with the occasional momentous event--including one that's relatively shocking, but plot in a conventional sense is not the focus here.

The last ship (Utolsó hajó) is leaving the quay. Sirens are sounding.