<\/p>\n
Uncle \u00c1rpi \u2014 his sons only ever call him the Boss \u2014 has lived alone for years, since losing the wife he spent more than fifty years with. That his entire savings have gone in recent months is something his two sons, Attila and Krist\u00f3f, only notice when the electricity is cut off over unpaid bills. From a man who lives as modestly as he does this is more than odd, and he refuses to say where a million and a half forints went. Eventually the sons get it out of him: he gave it to Hajnalka, a young woman who has had a hard life. The old man says he is in love. The sons say he is being conned. The longest night of their lives begins \u2014 and by the end Hajnalka turns up at the front door too.<\/p>\n
The film’s backstory is at least as interesting as its story. Istv\u00e1n Tasn\u00e1di began it eight years ago in Tam\u00e1s Lengyel’s kitchen: he brought the basic idea and a few scene sketches, and the actors he had invited improvised on them. From the rehearsals they shot a ten-minute short and applied for funding with it. After a few years it became clear that with this cast no state grant would be forthcoming \u2014 and Tasn\u00e1di could not imagine the film with any other actors. In his own words it had been a shared cause from the beginning, and he had nearly given up when the producers of I Went Running<\/em> and Fell for You<\/em>, Gy\u00f6rgy K\u00e1rp\u00e1ti and Bal\u00e1zs Berta, stepped in alongside him, together with D\u00e1niel Herner.<\/p>\n So the film was made independently, with no direct state funding, on roughly a fifth of the budget of a comparable feature: the director, Zolt\u00e1n Mucsi, Tam\u00e1s Lengyel, \u00c1ron Moln\u00e1r and the cinematographer S\u00e1ndor Csuk\u00e1s all worked for free. Shooting began in January, in the coldest days of the winter, and was finished in fourteen days \u2014 the final clap came in a snowstorm in the Danube Bend. The interiors were shot in the Monspart house, once the home of the orienteering world champion Sarolta Monspart. The producers themselves stressed that this arrangement is not a model but a necessity.<\/p>\n The cast draws on the strong middle generation of Hungarian acting and on its elders: Zolt\u00e1n Mucsi<\/strong>, \u00c1ron Moln\u00e1r<\/strong>, Tam\u00e1s Lengyel<\/strong>, Vikt\u00f3ria Staub<\/strong>, together with Dorottya Udvaros<\/strong>, L\u00e1szl\u00f3 M\u00e1tray and \u00c1kos Orosz. S\u00e1ndor Csuk\u00e1s shot the film, Mano Csillag edited it, Andr\u00e1s Monori composed the score and Adrienn Antal-Fogel designed the sets.<\/p>\n Istv\u00e1n Tasn\u00e1di is one of the central figures of contemporary Hungarian playwriting and screenwriting, a winner of the J\u00f3zsef Attila and Bal\u00e1zs B\u00e9la prizes, and the writer of the cult series Arany\u00e9let<\/em> and Ter\u00e1pia<\/em> as well as the films Made in Hung\u00e1ria<\/em> and Nyugati nyaral\u00e1s<\/em>. As a director he previously made two television films, MEMO<\/em> and Egy m\u00e1sik \u00e9letben<\/em>; Az \u00f6r\u00f6ks\u00e9g<\/em> is his first for cinemas. It opens in Hungarian cinemas on 22 October.<\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Uncle \u00c1rpi \u2014 his sons only ever call him the Boss \u2014 has lived alone for years, since losing the wife he spent more than fifty years with. That his entire savings have gone in recent months is something his two sons, Attila and Krist\u00f3f, only notice when the electricity is cut off over unpaid […]<\/p>\n","protected":false},"author":6,"featured_media":35472,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"acf":[],"yoast_head":"\n