3rd Blue Danube Film Festival

It is a dramatic shaping of the perdurable topic of racism, drawing attention to the dangers of violence as well, which might be living through in the fate of children. The story pattern, which we can see quite often, has several unexpected turns of events; both the performance of the actors and the photography are magnificent. (Gábor Gelencsér - Jury)

Dealing with the often-presented dramatic situation with a documentaristic directness, this movie draws up a precise profile about a hard decision and about its underlying trauma. The unequivocal phrasing and the almost imperceptible application of the long take technique make the unacceptable and incomprehensible an everyday business - and this is exactly how we are being confronted with its depressing weight. (Gábor Gelencsér - Jury)

This movie, recorded with only one long take and showing the actor's back all along, is capable of telling a complex story with its self-limiting form: the parallelly increasing, synergistic and unstoppable drama of the violent outside world and of the mother's anxiety. (Gábor Gelencsér - Jury)

This story tells a father-and-son drama, where the two characters' relationship takes a quite overarching journey - the two actors are capable of mediating this relationship with huge expressive power, using restricted assets and dialogues of a few words only. (Gábor Gelencsér - Jury)

The main virtue of The Last Image of Father – which sensitively represents a father-son relationship, and a hard decision within it – is its unique language, that it operates with outstanding visual expression, natural acting and restrained dialogues to create this moving experience. (Maya Makádi, Liza Somogyi - Student Jury)

It is an ingenious, playful, remarkably diversified and multifarious phrasing of the woman, of the women's fate and of the women's role, which does not lack feministic and genderistic aspects, but it is also self-ironical at the same time. (Gábor Gelencsér - Jury)

Genuine social issue presented in an unshowy, modest way. Ábel Regős' film is super short - only one minute long -, but builds a strong narrative with a powerful message. This message is not sententious though, but rather - sadly - real. (Sámuel Barna - Student Jury)

The movie, using documentarism in a revolutionary spirit and in a creative way, is actually "documenting" a mystical story - and the movie's originality and power lies precisely in this contradiction. The authorial comments and the montage of the most diverse archival and new footages create a special film material at the borderline of documentary, comedy and essayist movies.(Gábor Gelencsér - Jury)

Using image regimes from various sources and combining them in a witty manner, director Ismaël Joffroy Chandoutis addresses a far too neglected issue of our era: cyber-harassment. (Bálint Major - Student Jury)

first of all this film is built very humanely with a lot of empathy still it's full of humor in it's content and visuality. visually real elegant. each picture contents only what's needed, nothing more. very well written, the dramaturgy is great, the design and the execution is professional but the content and other elements all together point way much beyond professionalism and virtuosity. (Abed-Hadi Forat Elmoro - Jury)

visual poetry. nonverbal vers-libre not sharing borders with emotions, feelings. a personal sight and slight of the maker, a personal experience of the recipient. ethereal nevertheless rock steady. beautiful. (Abed-Hadi Forat Elmoro - Jury)

Gilles Cuvelier’ tale is a touching and cruel lesson about three thing: humanity, bestiality, and the thin line between them. Not only a beautiful animation with incredible style, but a thoughtful declaration about our society. (Tamás Rebák - Student Jury)

Horn’s piece beautifully combines the traditions of the lyrical films and the reflexive modes of classical documentary films. However he does not go as far as Jean Rouch in Chronicle of a Summer (1961), for instance, he does show fair sensitivity toward social issues as he gently but accurately exposes social relations, and also metaphoric and literal in-betwenness. (Bori Máté - Jury)

What is remarkable in Spence’s film, is not the fictionalized existential crisis of the former artificial intelligence television host, Max Headroom (originally created by George Stone, Annabelle Jenkel and Rocky Morton) but the sensuous form in which it takes shape. By transforming video signals into highly tactile images it successfully evokes the concept of Laura Marks’ video haptics. Through these images, Headroom’s existential crisis addresses the viewers not so much or not only in an intellectual but in a more powerful, visceral way. (Bori Máté - Jury)

The world of illusion and the reality - like in the cinema where the film is placed - meets in tx-reverse and melt into one due to its special technique. (Botond Emődy - Student Jury)