Don’t Cry, Pretty Girls!
Diary for My Lovers
The heartrending final installment of Mészáros’s semi-autobiographical Diary trilogy continues the journey of Juli, a young orphan, through the tumult of postwar Hungary.
Mészáros’s second Diary installment follows teenage Juli, the director’s alter ego, as she leaves Hungary to become a filmmaker in Moscow and discovers that her vision of “reality” is different than Russia’s.
Mészáros folds national history, a coming-of-age tale, and the power of cinephilia into this look at a young orphan seeking truth amidst the lies, conspiracies, and shadows of postwar Hungary.
In 1936 Budapest, with Nazism on the rise, the wealthy but sterile wife of a military officer asks her young Jewish friend (Isabelle Huppert) to bear her husband’s child.
French star Marina Vlady (Two or Three Things I Know About Her) provides the calm to Lili Monori’s rage in this astonishing look at two women at different stages of their lives.
A newly arrived factory worker and her foreman strike up a doomed relationship in Mészáros’s look at love—or the impossibility thereof—in a society with little room for affection.
Mészáros brought her documentary background to bear in this masterful parable about female self-actualization in 1970s Hungary, the winner of the Golden Bear at the 1975 Berlin Film Festival.
A lower-class textile mill girl falls for a bourgeoise student in Mészáros’s biting examination of unequal social constructs—and the final freedom of smashing plates.
Iron Curtain industrial realism merges with A Hard Day’s Night fancy in this weightless caper through the Hungarian “New Beat” underground, as downtrodden factory kids escape in rock and roll.
A recently widowed woman finds herself held hostage by her son and his girlfriend in this icy, Bergman-esque portrait of the maternal ties that turn to chains.
Forget James Dean; Mészáros’s debut introduces viewers to a young female rebel without a cause, a textile factory worker searching for her past and for pleasure in her present.