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HUNGARIAN FILM SERIES: MIKLÓS JANCSÓ: TWO MASTERPIECES Special thanks to Bunyik Entertainment and the Magyar Filmunió.
	THE ROUND-UP / SZEGÉNYLEGÉNYEK (1966) Tuesday, February 17: White Hall 205, 8:00 PM 94 minutes, black-and-white, scope, 35mm Set at the tail end of the 1848-49 Hungarian Revolution and War of Independence against the Habsburg Empire, The Round-Up depicts gendarmes employing "enhanced interrogation techniques" against the last remaining rebels to break their will and ferret out the chief of a rebel army. The film, not entirely authentic in its historical details, was rightly seen by Hungarians as a thinly disguised parable about the Communist terror after the 1956 Revolution. The Round-Up is the first film showing Miklós Jancsó as one of the major innovators of cinema, with its long unedited tracking shots running to several minutes in places, and its use of the wide screen in stark black-and-white, so befitting for the haunting landscape of the Great Hungarian Plain (cinematographer Tamás Somló). The other innovation of Jancsó's direction is the precisely choreographed movement of figures in a landscape. All this contributes to create an unforgettable image of the diabolical nature of totalitarian power. Nominated for a Palme d'Or at the 1966 Cannes Film Festival; one of the most important European films of the Sixties.
	RED PSALM / MÉG KÉR A NÉP (1972) Friday, February 27: White Hall 205, 8:00 PM 88 minutes, color, 35mm Arguably Jancsó's masterpiece, and the pinnacle of his unforgettable visual style. The film's subject is a brutally suppressed agrarian revolt in the late nineteenth century; Jancsó stages the event as a hallucinatory pageant of color, movement and music. In some thirty astonishingly choreographed shots (most films have hundreds) the camera circles the actors, using a zoom lens to catch fleeting details and to subtly alter the viewer's perception of space. The actors sing and dance for most of the time - this is Jancsó's ultimate homage to Hungarian folk dancing, which was his initiation into art and comradeship as an anti-Nazi activist during WWII. Film historian David Cook describes Red Psalm as "a film of nearly perfect formal beauty, great humanity, and awesome cinematic power." Jonathan Rosenbaum (Chicago Reader) writes: "May well be the greatest Hungarian film of the 60s and 70s, summing up an entire strain in [Jancsó's] work that lamentably has been forgotten here." Winner of Best Direction at the 1972 Cannes Film Festival.

HUNGARIAN FILM SERIES: MIKLÓS JANCSÓ: TWO MASTERPIECES
Special thanks to Bunyik Entertainment and the Magyar Filmunió.

THE ROUND-UP / SZEGÉNYLEGÉNYEK (1966)
Tuesday, February 17: White Hall 205, 8:00 PM
94 minutes, black-and-white, scope, 35mm

Set at the tail end of the 1848-49 Hungarian Revolution and War of Independence against the Habsburg Empire, The Round-Up depicts gendarmes employing "enhanced interrogation techniques" against the last remaining rebels to break their will and ferret out the chief of a rebel army. The film, not entirely authentic in its historical details, was rightly seen by Hungarians as a thinly disguised parable about the Communist terror after the 1956 Revolution. The Round-Up is the first film showing Miklós Jancsó as one of the major innovators of cinema, with its long unedited tracking shots running to several minutes in places, and its use of the wide screen in stark black-and-white, so befitting for the haunting landscape of the Great Hungarian Plain (cinematographer Tamás Somló). The other innovation of Jancsó's direction is the precisely choreographed movement of figures in a landscape. All this contributes to create an unforgettable image of the diabolical nature of totalitarian power. Nominated for a Palme d'Or at the 1966 Cannes Film Festival; one of the most important European films of the Sixties.

RED PSALM / MÉG KÉR A NÉP (1972)
Friday, February 27: White Hall 205, 8:00 PM
88 minutes, color, 35mm

Arguably Jancsó's masterpiece, and the pinnacle of his unforgettable visual style. The film's subject is a brutally suppressed agrarian revolt in the late nineteenth century; Jancsó stages the event as a hallucinatory pageant of color, movement and music. In some thirty astonishingly choreographed shots (most films have hundreds) the camera circles the actors, using a zoom lens to catch fleeting details and to subtly alter the viewer's perception of space. The actors sing and dance for most of the time - this is Jancsó's ultimate homage to Hungarian folk dancing, which was his initiation into art and comradeship as an anti-Nazi activist during WWII. Film historian David Cook describes Red Psalm as "a film of nearly perfect formal beauty, great humanity, and awesome cinematic power." Jonathan Rosenbaum (Chicago Reader) writes: "May well be the greatest Hungarian film of the 60s and 70s, summing up an entire strain in [Jancsó's] work that lamentably has been forgotten here." Winner of Best Direction at the 1972 Cannes Film Festival.