Bálint Balassa

The story takes place in an imagined future, after the “nuclear war”, but at the same time it also reflects the social issues of our time. The different points of view affecting each other hit the viewer in waves, along which you can increasingly feel that everyone is right at the same time. Contradictions line up, complementing each other along conflicting arguments. Difficult topics are made easier to digest by songs, music and dance. The location is Hungary, but threads connected to Germany and Austria appear in several places. The pairs of contrasts presented may be valid in any European country “in the future”. The world has reached the pinnacle of its development, and it’s only going downhill from here. I symbolize this with the designation “after the nuclear war”.

Most people experience the present as a slice of politics, even though the present is more than a view of politics. The present is a complex picture of social life. I try to depict several segments of this complex picture at the same time. Three planes appear in this movie. Dreamlike images that let you see into the unique world of each character; the plane that takes place in the future, which provides the core of the story; and the intermediate parts of the forest, which symbolize our present world, tie the story together.

I am a screenwriter, director and cinematographer at the same time. This is how I was able to bring this vision to the canvas entirely according to my own ideas. One step led to another.

This film was made on a budget plan, without support. Those who participated in its preparation did so voluntarily, not for payment, but because they felt the importance of the message.

During the filming, French-Hungarian citizen Benjamin, who plays the role of the Dinosaur in the film, said that the same story could take place in France. –  “It has to be presented there as well. They will understand it there as well.”

Making a film of course brings a lot of experience that gets incorporated into later films, but I feel I would make this film in a similar way even if I were to start over.

This movie is an age drawing. But at the same time, it is also a life story, which selects from my poems published during the Balkan wars and draws parallels with my years spent in Germany.

Movies today convey some kind of worldview, are subsidized for that, or are simply made for entertainment. They convey the value for which they are paid. There are few projects that are purely about the creator’s feelings, that is, the creator can coordinate the costs with his own individuality. If the production is not shaped by genuine emotions and the desire to create, it can disappoint in a film.

I tried to find actors whose natural character was similar to the character I wanted to portray.

For the main leading melody, I chose a folk song from Moldavia, which carries a distinct sense of Hungarian destiny. The film begins and ends with this melody. Fragments of the melody also appear between the forest scenes. By the end of the film, these sounds intertwine, helping the viewer connect the details. For the two dances, I chose classical Hungarian melodies, but there is also a unique, specially composed piece in the film.

According to one of my critics, this film is like a Vasarely painting. It has a rigorously designed symmetrically abstract structure. Vivid contrasts emerge as the characters continue to unfold. With periodic intensity, he presents various viewpoints, and finally they form into a unified whole I received good feedback from the participants regarding the introduction of the characters, which helped in establishing the appropriate balance.