Marcell Jankovics, Panonnia film, Hungary, 1970, 35mm, 5'
Gustav is a manager of an important company. His only sorrow is that he is short. He tries everything to make him grow - naturally in vain. Finally he finds the solution: he employs only people who are shorter than he himself.
Sandor Reisenbüchler, Panonnia film, Hungary, 1972, 35mm, 12'
The composition by Tchaikovsky commemorates the war fought against Napoleon.
The film attempts to unite the period syntheses of the work of Tolstoy with the colours of the descriptive art of Turgeniev and Dostoevsky.
Ferenc Rofusz, Panonnia film, Hungary, 1980, 35mm, 4'
Sensing the approach of the autumn, the fly takes shelter in a house, hoping for safety... we see the surroundings through the eyes of the fly. Oscar Prize in 1981.
Ferenc Cako, Panonnia film, Hungary, 1987, 35mm, 7'
From the very beginning Man fights, struggles and makes love. The film shows all these by sand animation. We see an extraordinary world which becomes three dimensional. A sand man is born only to be destroyed and born anew.
Katalin Macskassy, Panonnia film, Hungary, 1997, 35mm, 11-
How do Hungarian children see their country at the end of the last century?
Zsofia Peterffy, Panonnia film, Hungary, 2002, 35mm, 8'
Jenny has been humiliated and during that time she dreams about revenge and breaking out of her miserable life. The appearance of a pirate ship gives her the opportunity to execute her revenge...
Péter Szoboszlay, Kecskemét Film, Hungary, 1977, 35mm, 8'
Deformations are liable to be caused by aggressive influences in the patterns of behaviour of a person who backs down in the face of violence. This film attempts to pinpoint the distorting effect of violence and aggression, upon the individual.
Béla Weisz, Kecskemét Film, Hungary, 1988, 35mm, 1'30"
The film takes place in a society of rabbits and hens. From this we can learn which had been created first, the hen or the egg - or the rabbit ?
Nikolai Ivanov Neykov, Kecskemét Film, Hungary, 1991, 35mm, 3'
Some shepherds pasture their flocks. A shepherd appears and leads the ignorant sheep to a cool spring by playing a magic tune on his pipe.
Zoltán Szilágyi Varga, Kecskemét Film, Hungary, 1991, 35mm, 7'
It is a parable about the contradiction between the -chronicle of wars-, as a historical concept and the comprehensive approach of cultural history for graduates and modern illiterates.
írpád Miklós, Kecskemét Film, Hungary, 1992, 35mm, 2'
The location of the sense organs on the head represents the stages and possibilities of cognition.
Mária Horváth, Kecskemét Film, Hungary, 1992, 35mm, 7'30"
Children are playing in front of a wall among friends, grass, rain, flowers, birds, stone. A house casts a shadow on the wall. This house has the same address as the title of the film: Greentree Street 66 (H-6000 Kecskemét, Hungary).
Gizella Neuberger, Kecskemét Film, Hungary, 1994, 35mm, 5'
An experimental film based on electro-graphical technique, which reflects the endless diversity, variability and formal fullness of the human face.
Mária Horváth, Kecskemét Film, Hungary, 2000, 35mm, 6'
Picture poem - film poem. Its refrain is a swinging girl who is bringing and taking the next picture, the tiny moments of life. -The world was good, the world was god, the world was one, but now it's gone.- (by Lőrinc Szabó)
Gábor Ulrich, Kecskemét Film, Hungary, 2002, 35mm, 2'40"
The film uses a sequence of vibrating visions experienced during meditation, in order to analyse the interactions of physical existence. Vanity of flesh born throughout a life time, unreasonable mortality of substance, sensual pleasures, superficial aesthetics, fake quest for harmony - which one is the answer? Daily routine and fiction blend into a cycle of realist and surrealist movements, agitated and repetitive as a dance macabre. After depicting ambiguous spiritual visions, the film ends with the possibility of redemption.
“I know no genre or area in this country that has been capable of greater achievement than the art of animated films. In their own genre they have conquered a more prestigious place in the world of cinema than the also excellent Hungarian non-animated filmmaking, not to mention that these sudden gleam-like films are often among the most authentic documents of our times. We can get to know more of the period in question through these charming and grotesque, comic and tragic, shocking and playful films than from a multitude of scholarly analysis.”