Movies by Márta Mészáros
Welcome to our dedicated selection of films directed by Márta Mészáros. Here, you can explore a diverse range of works that highlight Márta Mészáros’s unique vision, storytelling style, and contribution to the world of cinema. Whether you’re an avid fan or discovering Márta mészáros’s filmography for the first time, this collection will guide you through critically acclaimed masterpieces, hidden gems, and influential titles that have shaped the director’s legacy.
Diary for My Children (1984)
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After having lost her parents, young Juli returns from the Soviet Union to her native Budapest. Scarred by the wounds of the past, the ghost of Stalin’s oppression haunts her as she reunites with her aunt and adoptive mother Magda.
Adoption (1975)
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When middle-aged Kata realises that her life will only be complete if she has a baby of her own, her longstanding-but-married boyfriend Joska refuses to comply. But by developing an unlikely friendship with the angst-ridden teenage orphan Anna, who is also involved in a controversial relationship, Kata discovers aspects of herself, and her role as a woman, that have gone unexamined throughout her entire, lonely life.
Don’t Cry, Pretty Girls! (1970)
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Savanyú and his friend work at a plant. After the monotonous shifts they engage in the pleasures of the afternoon and the night, i.e. parties and concerts. Savanyú dates Juli, they are already engaged. The young men live as sub-tenants, the young women in workers' hostels. None of these places are suited for spending time together. They are in need of an apartment. Out of the ruinous apartment which they lay siege on, however, they are sent away by the otherwise friendly policeman. At a concert held in the Park of Youth, Juli gets to know Géza. They flirt, then go to the country with a pop-group. Savanyú and his friends follow them. A minor
Binding Sentiments (1969)
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Edit, who became the wife of a politician out of a simple peasant girl, suddenly becomes a widow as a result of an accident. She never loved her husband. She lives a wealthy and lonely life amidst false friends, facing one of the last alternatives of her life, i.e. having to face her past in the hope of an independent new beginning.
The Girl (1968)
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A young woman leaves a state orphanage to find her mother in this interesting examination of how the overt repression of women in the older pattern of village life has been replaced by the more subtle exploitation inherent in the apparently freer existence of young girls in the contemporary city.