ROSSZ VERSEK

The film starts out akin to an antithesis to CASABLANCA: between Tomi and Anna, who have moved from Budapest to Paris, things are no longer what they were. She puts an end to the relationship. In quick-fire fashion he once again remembers the happy moments they spent together. Back at home and not in the mood he immediately comes into conflict with his father. Already on the way from the airport to the city centre the cheap adverts for turkey meat provoke his ire: "In Paris nobody would come up with the idea to bother tourists with such tasteless posters," says Tomi angrily, to which his father counters "Paris, however, wasn't bombed [during the Second World War], and anyway why can't you young people just be proud of Hungary?"

Already in these first seven minutes of his second feature film director, scriptwriter and actor Gábor Reisz sets off a visually stunning, fast-paced firework of a film full of razor-sharp dialogue. No film in recent years has done so well in capturing the attitudes towards life of a young, disoriented generation in Hungary who imagine themselves to still be in their mid-twenties. JT