I watch a lot of movies and TV shows on small screen. Thus the first thing I noticed when watching Szélcsend, a new Hungarian movie, in the movie theater were incredibly sharp and detailed picture. The sharpness came from the fact that almost every scene of the movie was shot on a mall yacht in plenty of direct sunlight rocking on Lake Balaton, Hungary’s biggest lake. It was just a joy to be reminded how much better experience it is too see something on the big screen. I particularly enjoyed that the camera’s capacity to bring into sharp focus certain parts of the screen, just a part of a face or body or the horizon was pushed to its limit.
You may think that one doesn’t need to see delicate details for this kind of movie where after all only three women were talking to each other and not much else was happening. This sounds more like the plot of a stage play, than of a movie; and I am sure it would work on the stage too. But it worked great in screen too: I was not bored for e second. The three actresses were splendid, the slowly developing tension, the unfolding back stories, the twist were all well executed. Based on small signs in the interactions of the two younger women I was expecting a certain twist at the end and got a different one. Spoiler: Kata and Eszter were not lovers, but Eszter was manipulating Kata’s father in a devious ways.
The credits of the movie both at the beginning and at the ends started with a list of 8 women, including not just the three actresses, but also the composer, photographer, editor and others two. Thus my impression was that it was a very feminine movie. I also thought that the director was a woman too, but my friends informed me, that I misremembered this info and the movie was directed by a man. Either way I thought this was a well written and performed drama.