"Time past and time future/what might have been and what has been/point to one end, which is always present" (T.S. Eliot, quoted by Zoltán Huszárik). With an evocation of fragmented time unequaled outside the work of Alain Resnais, Zoltán Huszárik remains faithful to the surrealist spirit and the associative language of Hungarian novelist Gyula Krúdy, on whose writings Sinbad is based. The film revolves around an aging Don Juan/Don Quixote figure who sifts through his memories in a vain search for peace. His drives and his destiny (death and resurrection, endlessly repeated) are materialized and anthropomorphized in the film's imagery. From his well established work as a painter and designer, Huszárik (1931-1981) brought to his films a vivid and precise use of color and editing. Sinbad has been described as "the visual equivalent of a Baudelaire poem, complex, rich in images, lush in style, disciplined in structure" (Michael Webb, AFI). "What does Sinbad want?" Huszárik asked. "To live, to exist in all milieux, in the ladies, in the objects, in the good flavor of the food, in the reflection of faded wine glasses, and in the mossy crosses of graveyards. The urgent striving for self-shaping sets up the store of his experiences..."