Petô
György filmed everywhere. Not only in his small family circle, but
also outside in the open air, in labour service as well as on the Margit-sziget
(Margaret Island), in the houses of the ghetto as well as in an intimate
bedroom. [...] The result is a one-man visual universe which seems
to be in the state of a long-lasting explosion and continuous widening.
Everything is very intimate, but still kind of strange. I see what I see
yet the invisible is haunting everywhere.
This
film has an effect as if a concave mirror was held to the spectator. And
to Hungarian history at the same time. If you look at it from closer, everything
will grow beyond real: instead of the face, its flaws rashes, pimples,
spots, hairs are pushing to the foreground. [...]
It
is the anti-Jewish laws of the Horthy-era set to music. One of the most
irrational distortions of Hungarian history appears in the most irrational
way. One absurdity (the anti-Jewish law) will be at the mercy of another
absurdity (setting something to music). Paradoxically, it does not make
absurdity grow but everything gets unexpectedly sharp and precise.
from
Historical
Therapy on Film by László Földényi F.
Performance
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