Picturesque Epochs – The life of Mária Gánóczy painter and filmmaker
A four-generation saga in a Hungarian painters dynasty, starting from the half of the XIX Century. At the centre of the family epic, there is the painter and filmmaker Mária Gánoczy, a more-than-ninety-year-old brilliant artist who raised nine children.
Picturesque Epochs is a journey through time, spanning two hundred years of Hungarian art and history as seen by the eye of those who paint. Forgács adds to the images art historian Géza Perneczky’s commentary. This monumental and intimate story blends painting and cinema, and so does with private and public life in the tragic story of Hungary. It is part of the series ‘Private Hungary’.
regia
Péter Forgács
running time
133'
film format
video | B&W and colour
year
2017
Country
Hungary
Series
Private Hungary
Guarda i film e gli eventi della sezione Péter Forgács. Hidden Histories
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11th October, 21.00 | Auditorium DAMSLab - Piazzetta P. P. Pasolini 5b, Bologna
Meeting and screening with Péter Forgács
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Considered to be a master of found footage film and a pioneer in the archiving and re-working of amateur films, Péter Forgács is going to be in Bologna on October 11th to introduce the first Italian preview of the last two films in the Private Hungary series: Kemény György and Venom – A Diva in Exile.
Kemény György | 68', 2017, Hungary
The passionate portrait of Hungarian pop artist György Kemény, very much known in his country for posters, album covers, graphics and the “social” advertisement. Kemény is also a sculptor and author of modern installations, and performances. As with other protagonists in his films, Forgács draws a voyage through the XX Century and its “hidden stories”, with the life of the eighty-year-old Kemény, in this case told personally by him. The narrative has its counterpoint in the private films and in the abundant iconographic material, contextualised à la Forgács.
Chapter XIX of the “Private Hungary” series, the huge work-in-progress that Forgács started in 1988.
Venom – A Diva in Exile | 29’, 2018, Hungary
Venom – A Diva in Exile (2018) is based on the tale of the same name by writer Zsófia Bán, about the troubled story of singer and Hungarian film star Katalin Karády. Diva in the Horthy era, she was accused of espionage during the war, imprisoned, tortured and banished from the radio and the theatres of her own country. After being released, she strived for saving numerous Jewish families, while the disappearance of the man she was connected to, arrested by the Nazis, first, and then by the Soviets, brought her to despair. Heartbroken, castaway and banished by the new Communsit regime, she went into exile in 1951, spending 15 years in San Paolo, Brazil, never playing in films or on stage anymore. She then lived in New York until her death (1990).
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 8mm film diary of a couple, shot between 1936 and 1966.
Budapest is a ghost-like city, where phantasmal shadows shift in a snowy view, in the clutch of cold and wind. Jenö is a bank clerk living in the elegant districts of the city, with his wife Dusi and their purebred dog. Since 1936 Jenö keeps a film diary in which he records, preferably, the moments spent with his wife and the in-laws, but also visions of his city and its worldly life: the entrance of a hotel, the crowd in front of a theatre, the elegant vehicles in the streets.
According to Forgács, Jenö “could have been the best cameramen of his time, if he hadn’t worked as a bank clerk for the General Mortgage Credit Bank up to 1945”, he shoots long pan-shots along the river, arranges postcards of the most important city monuments, fixes the beauty of the bridges over the Danube. But the re-working effort made by Forgács with the help of Tibor Szemzö’s music, places these frames of little, private happiness in the wider perspective of historical memory.
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The great main character of the film is Dusi the dog, catalyst of the eye of the camera and emotional reference point of the young couple, childless. The small tragedy of his death and the following burial ceremony is the dramatic peak of the events and the unveiling of a dull pain, working under the surface of the image. At the end of the war, Jenö keeps on, imperturbable, to film his daily routine and the new reality of a city in ruins.
The film is the second episode of the series Private Hungary, started by Forgács at the end of the 1980s and continued up to date. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Everything we see could also be otherwise.
Everything we can describe at all could also be otherwise.
Pèter Forgács
The work consists of seven short video essays that take up a few paragraphs from Ludwig Wittgenstein's Tractatus Logico Philosophicus, first published in 1921, with other texts by the Austrian philosopher. Short sequences, fragments of amateur films depicting a single moment, a banal, everyday gesture, constitute the material that Forgács moulds to engage Wittgenstein's theories on logic, language, reality and representation. A philosophical film and a key to Forgács' archival cinema.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Through György Petö’s 8mm home movies, made starting 1938, Free Fall retraces the times before the Shoah, rebuilding the illusions of a Jewish Hungarian family, worn away step by step by the dark advancing of History.
György Petö, middle-class and excellent mingling Jew, takes control of the family bank when his father dies in 1936. Passionate about music and boats, Petö buys an 8mm camera at the end of the ‘30s, and quickly become a prolific home movies producer, on which he fixes his love for his girlfriend Eva Lengyel, boat trips, holidays, anniversaries, friendships (among his friends, the great maestro Ferenc Fricsay), his marriage in 1941.
Meanwhile, slowly but relentlessly, anti-Semitic laws are passing: “The social life, the ceremonies, love, fun, they are all articulated by a psalm-singing voice, ‘singing’ the laws ever more restrictive towards the Isreal people, giving us faces, gazes and bodies stubbornly unaware of the swirl swallowing them, of a looming tragedy to which the solemn lines of poet Janos Pilinsky come as a seal” (Paolo Vecchi).
Despite the alliance between Hungary and Nazi Germany, the Jew community in Hungaru stays more or less untouched until the Spring of 1944, the year when Petö’s film memoires stop. Forgács puts in act an incessant coming-and-going from the political events and those private, submerging both in the melancholy and grave Tibor Szemzö’s musical flow - the clear and shrill sound.
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Peeremboom are a numerous family of Dutch Jews; The Maelestrom – A Family Chronicle re-uses and edits images mostly taken from their home movies collection, documents on the events of their family life from 1933 to 1942: the very years when Nazism was born and grew wide in Europe. In 1940, The Netherlands are invaded by Hitler’s army; of all the member of their family just one will survive the deportation in the concentration camps. Simultaneously to the Peerembooms’ story - who film until the day they are forced to abandon the house by the Germans - the editing alternated Seyss-Inquart’s film memories, the Nazi commissioner for the occupied Dutch terrotories.
The opposite destiny of two families - one doomed to extermination, the other to the guilt of the executioners - bestows a different quality to the two series of images, extraordinarily similar in showing frames of relaxed daily life. The archive material, in Forgács’s work, sometimes becomes exquisitely cinematographic: the use of freeze-frame stops the image in the moment of its perfection, catching the moment the frame peaks its “rightness” in composition. Some time, the presence of a gag raises the amateur film to a proper film; but the awareness of being on front of one of the most extraordinary historical documents about the Jew holocaust pushes the glance of the audience to an ethical distance, and toward the never stopping thought about what is exposed on film.
In Forgács’s masterful work the private dimension of the story of the Shoah is disruptive and never seen, and stands out as it had never happened before in cinema, both documentery and fiction. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]It’s 1938 and Hitler expands his influence on Austria and Czechoslovakia: the Czechoslovakian puppet government wuickly turns anti-Semitic and Aron Grünhut, president of the Jew Orthodox community in Bratislava, arranges for the escape of about 900 Jews on two ships: one of this is the Queen Elizabeth. The entire trip, with its cargo of displaced people from Bratislava to the Black Sea along the Danube, is recorded by captain Nándor Andrásovits who keeps his “ship log” with an amateur camera.
On another ship, the Noemi Julia, the travellers will get to their final destination: Palestine. Meanwhile, Hitler signs the treaty for the alliance with Stalin; the agreement between the two countries establishes the transfer of a part of Romania (the Bessarabia) to the Soviet Union. The German people living there must be repatriated to Germany, and the Nazi headquarters rents the Queen Elizabeth to bring back in the homeland the German citizens. On the deck of that vey ship, two people’s destinies cross: the drama of people forced to live their land to make room for History's reasons.
The archive images recovered and edited by Forgács outline a journey halfway from the biblical exodus and the lightheartedness of an unexpected adventure. The faces, in front of Andrásovitz’s camera, open up with a smile, curious. The films fix the moments of carefreeness: a wedding, dances on the deck, someone sunbathing, the beauty of girls. It’s the landscape images, instead, that outline a universe made of water and sky, space of the mythological tale in which to renew the walk toward the promised land. And it is Tibor Szemzö to dig into the images and to resurface the feeling of nostalgia and the pain for a lost homeland. In The Danube Exodus, the exodus becomes the key concept to understand the story of World War II and to read the identity of the Jewish people.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Storie di guerra: l’esodo, filmato dal capitano di una nave, di un gruppo ebrei del centro Europa lungo il Danubio verso il Mar Nero e il percorso opposto di contadini tedeschi rimpatriati in Germania dall’Unione Sovietica.
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Greece, 1940: the Italian army enters Athens, and six months later the German one does. The foreign occupation will cause a clandestine movement of Greek resistance, triggering a bloody civil war. The tragedy of World War II and the effects of the Nazi occupation on Greek territory would have gone without any image if mr. Angelos Papanasstassiou, broker, first, then entrepreneur and finally city councilman in Athens hadn’t had a passion for amateur filmmaking.
Passion which coincided with bravery, in a time when the simplest act of taking a picture was punishable by death. Endangering his own life Angelos films the Nazi barbarities, the horror of mass graves, the partisans hanged on the street, mass executions, the people’s hunger, the tortured bodies of those who survived and those whi died. Simultaneously, with his little camera, he records his family life: the birth of the daughter, the smile of his wife, the parties with friends. At the end of the war Angelos hands in to the authorities his “war films”, which will later be used as proof of the committed crimes during the Nuremberg trials.
Forgács, after a minute research, edits together the shots stolen to the war with those filmed within the family, matching the great history with the private one: with a tremendous shrill, we watch the Nazi officers as they lay down 3622 in front of the Parthenon’s pillars, and the filming of Papanasstassiou’s daughter’s firts steps. In Forgács’s film the eye watching is a two-faced organ, continuously toppling its status and its perspective: the home movies have the happiness as an object, the historical document states the fear of the social body. In this way life and death, joy and terror stand still, in front of each other, they encircle sieging; the images make the heart beat, both that of the individual and of history.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October| online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 1930s and Civil War Spain as seen in the eye of two amateur filmmakers. The first one, Joan Salvans, is the son of a wealthy Catalan industrialist, and he is a talented filmmaker, who is found dead with his father on July 14th, 1936, at the hand of an anarchist militant, six days after the break of the civil war. The second one is another young filmmaker, Ernesto Diaz Noriega, student of the Madrilen middle class close to republican ideas, arrested and put in jail . Ernesto manages to film his jail time, his release and the following way back to Madrid.
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Lisl Goldarbeiter’s story, the most beautiful girl in the world. Raised in Vienna in a poor family environment, she started winning contests very young, and in 1929 was unanimously chosen as Miss Universe, the first and last Austrian one. Suddenly worldwide famous, she travels and gets several job offers, even from Hollywood, but in the end she prefers to stay in her own country, marrying a rich Viennese.
Her cousin, Marci, since forever madly in love with her, is a passionate amateur filmmaker who films her and her family. With the Austrian annexation to Germany (1938) and the war, the situation gets dramatically out of hand. Persevering through time is romantic love. Thanks to Marci Tecnzer’s amateur images and Forgács’s masterful work, a very beautiful story can be finally told. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The destiny of hundreds of thousands Hungarian men and women migrated to the United States between 1890 and 1921.
In order to tell their stories, Forgács weaved a great epic by using film archive material, both public and private, among which images of the origins of American cinema, re-working them with pictures and oral witnesses. This poetical document recalls the difficult moments of the arrival, integration and inclusion, which lay the groundwork for future to subsequent generations and their American dream, real and delusional at once. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A four-generation saga in a Hungarian painters dynasty, starting from the half of the XIX Century. At the centre of the family epic, there is the painter and filmmaker Mária Gánoczy, a more-than-ninety-year-old brilliant artist who raised nine children.
Picturesque Epochs is a journey through time, spanning two hundred years of Hungarian art and history as seen by the eye of those who paint. Forgács adds to the images art historian Géza Perneczky’s commentary. This monumental and intimate story blends painting and cinema, and so does with private and public life in the tragic story of Hungary. It is part of the series ‘Private Hungary’. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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11th October, 21.00 | Auditorium DAMSLab - Piazzetta P. P. Pasolini 5b, Bologna
Meeting and screening with Péter Forgács
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Considered to be a master of found footage film and a pioneer in the archiving and re-working of amateur films, Péter Forgács is going to be in Bologna on October 11th to introduce the first Italian preview of the last two films in the Private Hungary series: Kemény György and Venom – A Diva in Exile.
Kemény György | 68', 2017, Hungary
The passionate portrait of Hungarian pop artist György Kemény, very much known in his country for posters, album covers, graphics and the “social” advertisement. Kemény is also a sculptor and author of modern installations, and performances. As with other protagonists in his films, Forgács draws a voyage through the XX Century and its “hidden stories”, with the life of the eighty-year-old Kemény, in this case told personally by him. The narrative has its counterpoint in the private films and in the abundant iconographic material, contextualised à la Forgács.
Chapter XIX of the “Private Hungary” series, the huge work-in-progress that Forgács started in 1988.
Venom – A Diva in Exile | 29’, 2018, Hungary
Venom – A Diva in Exile (2018) is based on the tale of the same name by writer Zsófia Bán, about the troubled story of singer and Hungarian film star Katalin Karády. Diva in the Horthy era, she was accused of espionage during the war, imprisoned, tortured and banished from the radio and the theatres of her own country. After being released, she strived for saving numerous Jewish families, while the disappearance of the man she was connected to, arrested by the Nazis, first, and then by the Soviets, brought her to despair. Heartbroken, castaway and banished by the new Communsit regime, she went into exile in 1951, spending 15 years in San Paolo, Brazil, never playing in films or on stage anymore. She then lived in New York until her death (1990).
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Hidden Histories. Live Screening
Dusi and Jenő
di Péter Forgács - Il diario privato di una coppia in una Budapest spettrale prima, durante e dopo la Seconda Guerra Mondiale, tra poesia e rievocazione storica.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
Wittgenstein Tractatus
di Péter Forgács - Frammenti di film amatoriali rielaborati con i testi del filosofo: un’opera potente che riflette sul linguaggio, l’immagine e la parola.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
Free Fall
di Péter Forgács - Attraverso i film del rampollo di una famiglia ebrea ungherese assistiamo, tra le speranze e le disillusioni, all’avanzare della Storia e alla sua caduta.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
The Maelstrom – A Family Chronic
di Péter Forgács - La cronaca filmata di una famiglia ebrea olandese che inconsapevolmente finisce nel vortice della distruzione nazista.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
The Danube Exodus
di Péter Forgács - Storie di guerra: l’esodo, filmato dal capitano di una nave, di un gruppo ebrei del centro Europa lungo il Danubio verso il Mar Nero e il percorso opposto di contadini tedeschi rimpatriati in Germania dall’Unione Sovietica.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
Angelos’ Film
di Péter Forgács - La resistenza greca all’occupazione nazista nelle immagini di un patriota di Atene che filma di nascosto le atrocità sulla popolazione compiute dai tedeschi.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
El Perro Negro – Stories from the
Spanish Civil War
di Péter Forgács - Un affresco delle Spagna della Guerra Civile attraverso i film di cineamatori dai due fronti contrapposti.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
Miss Universe 1929
Lisl Goldarbeiter. A Queen in Wien
di Péter Forgács - La storia di una ragazza semplice che divenne Miss Universo e di suo cugino che non smise mai di filmarla, amandola in segreto.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
Hunky Blues – The American Dream
di Péter Forgács - Il racconto corale dell’emigrazione ungherese negli Stati Uniti tra speranze, illusioni e opportunità, attraverso immagini d’archivio e testimonianze orali.
In Péter Forgács. Hidden Histories 01.10 / 27.10.2021
Picturesque Epochs – The life of Mária Gánóczy painter and filmmaker
di Péter Forgács - Un viaggio nel tempo attraverso duecento anni di arte e storia ungherese, visti dall'occhio di quattro generazioni di pittrici.
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11th October, 21.00 | Auditorium DAMSLab - Piazzetta P. P. Pasolini 5b, Bologna
Meeting and screening with Péter Forgács
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Considered to be a master of found footage film and a pioneer in the archiving and re-working of amateur films, Péter Forgács is going to be in Bologna on October 11th to introduce the first Italian preview of the last two films in the Private Hungary series: Kemény György and Venom – A Diva in Exile.
Kemény György | 68', 2017, Hungary
The passionate portrait of Hungarian pop artist György Kemény, very much known in his country for posters, album covers, graphics and the “social” advertisement. Kemény is also a sculptor and author of modern installations, and performances. As with other protagonists in his films, Forgács draws a voyage through the XX Century and its “hidden stories”, with the life of the eighty-year-old Kemény, in this case told personally by him. The narrative has its counterpoint in the private films and in the abundant iconographic material, contextualised à la Forgács.
Chapter XIX of the “Private Hungary” series, the huge work-in-progress that Forgács started in 1988.
Venom – A Diva in Exile | 29’, 2018, Hungary
Venom – A Diva in Exile (2018) is based on the tale of the same name by writer Zsófia Bán, about the troubled story of singer and Hungarian film star Katalin Karády. Diva in the Horthy era, she was accused of espionage during the war, imprisoned, tortured and banished from the radio and the theatres of her own country. After being released, she strived for saving numerous Jewish families, while the disappearance of the man she was connected to, arrested by the Nazis, first, and then by the Soviets, brought her to despair. Heartbroken, castaway and banished by the new Communsit regime, she went into exile in 1951, spending 15 years in San Paolo, Brazil, never playing in films or on stage anymore. She then lived in New York until her death (1990).
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 8mm film diary of a couple, shot between 1936 and 1966.
Budapest is a ghost-like city, where phantasmal shadows shift in a snowy view, in the clutch of cold and wind. Jenö is a bank clerk living in the elegant districts of the city, with his wife Dusi and their purebred dog. Since 1936 Jenö keeps a film diary in which he records, preferably, the moments spent with his wife and the in-laws, but also visions of his city and its worldly life: the entrance of a hotel, the crowd in front of a theatre, the elegant vehicles in the streets.
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Everything we see could also be otherwise.
Everything we can describe at all could also be otherwise.
Pèter Forgács
The work consists of seven short video essays that take up a few paragraphs from Ludwig Wittgenstein's Tractatus Logico Philosophicus, first published in 1921, with other texts by the Austrian philosopher. Short sequences, fragments of amateur films depicting a single moment, a banal, everyday gesture, constitute the material that Forgács moulds to engage Wittgenstein's theories on logic, language, reality and representation. A philosophical film and a key to Forgács' archival cinema.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Through György Petö’s 8mm home movies, made starting 1938, Free Fall retraces the times before the Shoah, rebuilding the illusions of a Jewish Hungarian family, worn away step by step by the dark advancing of History.
György Petö, middle-class and excellent mingling Jew, takes control of the family bank when his father dies in 1936. Passionate about music and boats, Petö buys an 8mm camera at the end of the ‘30s, and quickly become a prolific home movies producer, on which he fixes his love for his girlfriend Eva Lengyel, boat trips, holidays, anniversaries, friendships (among his friends, the great maestro Ferenc Fricsay), his marriage in 1941.
Meanwhile, slowly but relentlessly, anti-Semitic laws are passing: “The social life, the ceremonies, love, fun, they are all articulated by a psalm-singing voice, ‘singing’ the laws ever more restrictive towards the Isreal people, giving us faces, gazes and bodies stubbornly unaware of the swirl swallowing them, of a looming tragedy to which the solemn lines of poet Janos Pilinsky come as a seal” (Paolo Vecchi).
Despite the alliance between Hungary and Nazi Germany, the Jew community in Hungaru stays more or less untouched until the Spring of 1944, the year when Petö’s film memoires stop. Forgács puts in act an incessant coming-and-going from the political events and those private, submerging both in the melancholy and grave Tibor Szemzö’s musical flow - the clear and shrill sound.
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Peeremboom are a numerous family of Dutch Jews; The Maelestrom – A Family Chronicle re-uses and edits images mostly taken from their home movies collection, documents on the events of their family life from 1933 to 1942: the very years when Nazism was born and grew wide in Europe. In 1940, The Netherlands are invaded by Hitler’s army; of all the member of their family just one will survive the deportation in the concentration camps. Simultaneously to the Peerembooms’ story - who film until the day they are forced to abandon the house by the Germans - the editing alternated Seyss-Inquart’s film memories, the Nazi commissioner for the occupied Dutch terrotories.
The opposite destiny of two families - one doomed to extermination, the other to the guilt of the executioners - bestows a different quality to the two series of images, extraordinarily similar in showing frames of relaxed daily life. The archive material, in Forgács’s work, sometimes becomes exquisitely cinematographic: the use of freeze-frame stops the image in the moment of its perfection, catching the moment the frame peaks its “rightness” in composition. Some time, the presence of a gag raises the amateur film to a proper film; but the awareness of being on front of one of the most extraordinary historical documents about the Jew holocaust pushes the glance of the audience to an ethical distance, and toward the never stopping thought about what is exposed on film.
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]It’s 1938 and Hitler expands his influence on Austria and Czechoslovakia: the Czechoslovakian puppet government wuickly turns anti-Semitic and Aron Grünhut, president of the Jew Orthodox community in Bratislava, arranges for the escape of about 900 Jews on two ships: one of this is the Queen Elizabeth. The entire trip, with its cargo of displaced people from Bratislava to the Black Sea along the Danube, is recorded by captain Nándor Andrásovits who keeps his “ship log” with an amateur camera.
On another ship, the Noemi Julia, the travellers will get to their final destination: Palestine. Meanwhile, Hitler signs the treaty for the alliance with Stalin; the agreement between the two countries establishes the transfer of a part of Romania (the Bessarabia) to the Soviet Union. The German people living there must be repatriated to Germany, and the Nazi headquarters rents the Queen Elizabeth to bring back in the homeland the German citizens. On the deck of that vey ship, two people’s destinies cross: the drama of people forced to live their land to make room for History's reasons.
The archive images recovered and edited by Forgács outline a journey halfway from the biblical exodus and the lightheartedness of an unexpected adventure. The faces, in front of Andrásovitz’s camera, open up with a smile, curious. The films fix the moments of carefreeness: a wedding, dances on the deck, someone sunbathing, the beauty of girls. It’s the landscape images, instead, that outline a universe made of water and sky, space of the mythological tale in which to renew the walk toward the promised land. And it is Tibor Szemzö to dig into the images and to resurface the feeling of nostalgia and the pain for a lost homeland. In The Danube Exodus, the exodus becomes the key concept to understand the story of World War II and to read the identity of the Jewish people.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Greece, 1940: the Italian army enters Athens, and six months later the German one does. The foreign occupation will cause a clandestine movement of Greek resistance, triggering a bloody civil war. The tragedy of World War II and the effects of the Nazi occupation on Greek territory would have gone without any image if mr. Angelos Papanasstassiou, broker, first, then entrepreneur and finally city councilman in Athens hadn’t had a passion for amateur filmmaking.
Passion which coincided with bravery, in a time when the simplest act of taking a picture was punishable by death. Endangering his own life Angelos films the Nazi barbarities, the horror of mass graves, the partisans hanged on the street, mass executions, the people’s hunger, the tortured bodies of those who survived and those whi died. Simultaneously, with his little camera, he records his family life: the birth of the daughter, the smile of his wife, the parties with friends. At the end of the war Angelos hands in to the authorities his “war films”, which will later be used as proof of the committed crimes during the Nuremberg trials.
Forgács, after a minute research, edits together the shots stolen to the war with those filmed within the family, matching the great history with the private one: with a tremendous shrill, we watch the Nazi officers as they lay down 3622 in front of the Parthenon’s pillars, and the filming of Papanasstassiou’s daughter’s firts steps. In Forgács’s film the eye watching is a two-faced organ, continuously toppling its status and its perspective: the home movies have the happiness as an object, the historical document states the fear of the social body. In this way life and death, joy and terror stand still, in front of each other, they encircle sieging; the images make the heart beat, both that of the individual and of history.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October| online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The 1930s and Civil War Spain as seen in the eye of two amateur filmmakers. The first one, Joan Salvans, is the son of a wealthy Catalan industrialist, and he is a talented filmmaker, who is found dead with his father on July 14th, 1936, at the hand of an anarchist militant, six days after the break of the civil war. The second one is another young filmmaker, Ernesto Diaz Noriega, student of the Madrilen middle class close to republican ideas, arrested and put in jail . Ernesto manages to film his jail time, his release and the following way back to Madrid.
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Lisl Goldarbeiter’s story, the most beautiful girl in the world. Raised in Vienna in a poor family environment, she started winning contests very young, and in 1929 was unanimously chosen as Miss Universe, the first and last Austrian one. Suddenly worldwide famous, she travels and gets several job offers, even from Hollywood, but in the end she prefers to stay in her own country, marrying a rich Viennese.
Her cousin, Marci, since forever madly in love with her, is a passionate amateur filmmaker who films her and her family. With the Austrian annexation to Germany (1938) and the war, the situation gets dramatically out of hand. Persevering through time is romantic love. Thanks to Marci Tecnzer’s amateur images and Forgács’s masterful work, a very beautiful story can be finally told. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The destiny of hundreds of thousands Hungarian men and women migrated to the United States between 1890 and 1921.
In order to tell their stories, Forgács weaved a great epic by using film archive material, both public and private, among which images of the origins of American cinema, re-working them with pictures and oral witnesses. This poetical document recalls the difficult moments of the arrival, integration and inclusion, which lay the groundwork for future to subsequent generations and their American dream, real and delusional at once. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 1st to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]A four-generation saga in a Hungarian painters dynasty, starting from the half of the XIX Century. At the centre of the family epic, there is the painter and filmmaker Mária Gánoczy, a more-than-ninety-year-old brilliant artist who raised nine children.
Picturesque Epochs is a journey through time, spanning two hundred years of Hungarian art and history as seen by the eye of those who paint. Forgács adds to the images art historian Géza Perneczky’s commentary. This monumental and intimate story blends painting and cinema, and so does with private and public life in the tragic story of Hungary. It is part of the series ‘Private Hungary’. [/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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11th October, 21.00 | Auditorium DAMSLab - Piazzetta P. P. Pasolini 5b, Bologna
Meeting and screening with Péter Forgács
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Considered to be a master of found footage film and a pioneer in the archiving and re-working of amateur films, Péter Forgács is going to be in Bologna on October 11th to introduce the first Italian preview of the last two films in the Private Hungary series: Kemény György and Venom – A Diva in Exile.
Kemény György | 68', 2017, Hungary
The passionate portrait of Hungarian pop artist György Kemény, very much known in his country for posters, album covers, graphics and the “social” advertisement. Kemény is also a sculptor and author of modern installations, and performances. As with other protagonists in his films, Forgács draws a voyage through the XX Century and its “hidden stories”, with the life of the eighty-year-old Kemény, in this case told personally by him. The narrative has its counterpoint in the private films and in the abundant iconographic material, contextualised à la Forgács.
Chapter XIX of the “Private Hungary” series, the huge work-in-progress that Forgács started in 1988.
Venom – A Diva in Exile | 29’, 2018, Hungary
Venom – A Diva in Exile (2018) is based on the tale of the same name by writer Zsófia Bán, about the troubled story of singer and Hungarian film star Katalin Karády. Diva in the Horthy era, she was accused of espionage during the war, imprisoned, tortured and banished from the radio and the theatres of her own country. After being released, she strived for saving numerous Jewish families, while the disappearance of the man she was connected to, arrested by the Nazis, first, and then by the Soviets, brought her to despair. Heartbroken, castaway and banished by the new Communsit regime, she went into exile in 1951, spending 15 years in San Paolo, Brazil, never playing in films or on stage anymore. She then lived in New York until her death (1990).
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