Hungarian films win big at festivals … but who sees them?
Distribution a problem for European films as Hollywood maintains grip on market
By Nóra Lakos

When a Hungarian film wins awards at various European film festivals, one would think it would have an impact in national cinemas. The reality in Hungary, however, is far removed. In truth, it is foreign films that benefit from the publicity and marketing machine that piggybacks on international awards, while Hungarian films remain largely unseen - even here in Hungary.
Hungarian films last year won 49 awards at film festivals at home, and around the globe. Ibolya Fekete took home the coveted director’s prize at the prestigious 36th Karlovy Vary International Film Festival in the Czech Republic for her documentary, ‘Chico.’ Árpád Sopsits’s ‘Abandoned’ won the award for best direction at the 32nd Hungarian National Film Week, and Zoltán Kamondi’s ‘Temptations’ was nominated for the Golden Bear at the Berlin International Film Festival. Other directors have also appeared on the international scene, including Péter Mészáros’s ‘After the Rain’ which received the ‘Palm d’Or’ at the Cannes Film Festival, and Zsófia Péterffy’s ‘Lover of Pirates,’ which won the prestigious Silver Lion Award in Venice. One of the most successful young artists, Kornél Mundruczó, also won the Silver Leopard at Locarno for his ‘Pleasant Days,’ and was even named ‘Discovery of the Year’ by the European Film Academy in 2002.

István Szabó (above, right) and Jeremy Irons on-set

But despite these successes, Hungarian movie-goers seem more interested in Oscar or Golden Globe winners, than productions by their fellow citizens. It comes as little surprise that Hollywood blockbuster ‘Chicago’ was seen by 186,000 Hungarians and ‘The Hours’ by 55,000 people, just several months after their premieres. In contrast, Hungary’s success story, ‘Pleasant Days,’ was watched by a mere 3,000 Hungarians in the months following its release.
The film’s distributor believes that the "grim outlook" of the movie may partially explain the low viewing numbers. He says the film "complies viewers to look themselves in the face, while the audience would prefer to have fun."

One exception to the rule could be György Pálfy’s ‘Hukkle,’ which, in addition to winning numerous film festival awards, also won the European Film Academy’s Fassbinder Award. ‘Hukkle,’ a documentary on rural Hungarian life, is the first Hungarian movie since the political changes to receive such attention from foreign film distributors. Pálfy’s movie is being screened across 10 countries, with distribution contracts signed for Germany, Switzerland, Austria, France, Holland, the United States, Ireland, Israel, England, Belgium, the Czech Republic and Japan.
Péter Miskolci, spokesperson for the Association of Independent Hungarian Producers, believes Hukkle’s unique tone and unexpected choice of subject matter largely contributed to its success internationally. However, he added, there is no instant recipe. Although there are Hungarian comedies that have been successful in Hungary and in neighboring countries, reaching international markets has proved practically impossible.

Orsolya Tóth won best supporting female in ‘Pleasant Days,’ at the 33rd Hungarian Film Week

Miskolci says it is typical that European films are mere shadows of an international market dominated by Hollywood. This problem lies partially in the fact that American movies cover some 50-90 percent of the overall film market. The situation is better in France where only half of the films screened are imported from North America, while in smaller countries the figure is closer to 90 percent. In Hungary the share is around 80-85 percent in favor of Hollywood.
Miskolci is convinced that the only way for European films to make headway against overseas competition is cooperation and co-productions, in line with objectives of the European Union’s film policy. The idea rests on two fundamental supporting organizations: Euroimage, which gives support for production, and the Media-plus program, which finances distribution.
Movies prepared with EU assistance are generally co-productions and typically guaranteed for distribution in several European countries. Cooperation between the Visegrád Four (a political coalition between Hungary, the Czech Republic, Slovakia and Poland) was another initiative launched several few years ago to create co-productions with a guaranteed distribution in all four countries. The program, while well intentioned, seems to have stopped or at least slowed down.

Scene from the production “A bus came“

Some believe the future of Hungarian film lies in the success of DVD distribution, because such a format allows for up to 32 different language subtitles and eight voice bands - all included on a single CD. The Asian release of András Salamon’s ‘Close to Love,’ with subtitles in nine different languages, was recently completed, while Miklós Jancsó’s ‘Silence and Cry’ is also set for DVD release in North American markets. The only barrier on the DVD market is a regional code and television systems (PAL and NTSC) - which divide the world into two. It is anticipated, however, that these technical difficulties will soon be overcome.
Aside from the problem of international distribution, selling Hungary as a location for film production proves difficult. This is due to underdeveloped infrastructure in the Hungarian film market. This sector misses out on lucrative opportunities every year, as Hollywood spends as much as USD 13 billion annually on foreign locations.

Benedek Fliegauf will soon release his second feature film, “Dealer“

Between three and four major foreign films are shot in Hungary every year, over the course of the last decade. This spring a Hollywood delegation visited Hungary to assess he country’s potential. The delegation included Reid Shane, senior vice president of production at Paramount Television, Susan Budgen, president of production at Fox TV, Crystal Weaver, president of production at Twentieth Century Fox, Jake Myers, European Production Manager at Miramax and Roger Corman, a producer and owner of Concorde New Horizon. Following a screening that highlighted foreign films made in Hungary, the delegation arrived at the conclusion that conditions in neighboring countries – mainly in terms of finance – tended to be more favorable than in Hungary.
While an interstate agreement with the US would ensure tax rebates, none exists yet. Meanwhile, Hungary is encumbered with comparatively poor infrastructure – the Czech Republic, Bulgaria and Romania have each built top quality studios. In addition, it is no longer cheaper to shoot in Hungary than elsewhere in the region.
There was fierce competition between Hungary and Romania last year for the shooting location of the American movie ‘Underworld.’ In the end, the action film was shot in Hungary, from the very first shot to the final touch in editing. This was a rarity in any place that a movie is shot. The producer, Lakeshore, spent nearly as much in Budapest as it cost to make the Hungarian production ‘Bridgeman’, and it was worth it, judging by the fact that the film was a box office hit in its first week in America. The USD 22 million earned by the film covered almost all its expenses.
The producers were so thrilled by the film’s success that they are already planning ‘Underworld II.’ A new tender, however, has been announced for the shooting location and there are no guarantees the choice will not be one of Hungary’s neighbors and Romania is once again a strong candidate. In addition to having modernized its once state-owned studio, it built a completely new and well equipped one, outfitted with the latest technology. Romania also has a lower value-added tax (VAT), and generally has cheaper prices.
In addition to American film crews, an increasing number of Hungarian filmmakers are using the Transylvanian backdrop and the Bucharest film infrastructure. Szabolcs Hajdú – recipient of the Europe Award for his film ‘Sticky Matters’ – made his second film ‘Tamara’ in Transylvania. At the foot of the Hargita, and in the valley of the Homoród Creek, crews reshaped an old mill and spent one month shooting.
Hajdú said he opted for Transylvania not only because of the lower costs, but because of the better lighting conditions.
" In Hungary it is very difficult to find good lighting, whereas in the mountains, where the wind is strong, we can work uninterrupted for 30 days with fantastic lighting conditions," he explained.
With ‘Tamara’ practically finished, the film will make its debut at the Hungarian National Film Festival. In contrast to his first major film, which had no foreign distribution, Hajdú now wants to introduce ‘Tamara’ to the international movie market.

2003 film “Tamara“ by Szabolcs Hajdu

For this reason he chose the Hungarian Film Week for the film’s premiere. The festival, held early next year, is attended by a number of international experts and festival organizers, which could put the film one step closer to the international arena.
Benedek Fliegauf, hailed as Hungary’s second great film-making talent, is also expected to debut his second major movie ‘Dealer.’ His first film, ‘Forest’, grabbed the Gene Moskowitz Award from foreign critics at last year’s National Film Festival, as well as the Simó Sándor Award for Best First Film in Hungary.
He also received the Wolfgang Staudte Award at the Berlin International Film Festival. According to the international jury, Fliegauf successfully portrayed those who lost their way by relying on original means. He was applauded for making no compromises and striking a careful balance between style and realism.
Every country can enter one major film for the Oscars each year; and ‘Forest’ will represent Hungary in this year’s competition in the category of foreign language film. The question remains, however, whether it will take an Oscar win for anyone in Hungary to see it.