Apám beájulna (2003)

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The career of Tamás Sas in Hungary has been as erratic as that of Gus van Sant in Hollywood, veering from art house chamber drama aimed at adults to mass market films with a generic feel. Moreover, both directors have a tendency to depict young people, with Sas paying particular attention to capturing the way street Hungarian is spoken. (His 1997 debut, Presszó / Espresso shocked Hungarians with its depictions of young female Magyars “intruding” onto the usually male-only linguistic domain of colourful swearing.) Where the two directors differ is that Sas, who started his long career in film as a director of photography and who also makes commercials, seems more committed to popular forms.

And his films are indeed popular—with Hungarian audiences. Kalózok (Pirates, 1998) was the most popular domestic film in Hungary in 1999.[1] Critics, though, have been less impressed with his mass market works.

Sas, for example, has also been the subject of attack several times in Kinoeye. Kalózok was described in a 1999 article by myself as “pap” and being one of a group of films that “demean Hungarian cinema.”[2] The same film was also highlighted negatively in another article by myself as an example of the



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