Capriccio (1969)

Shreds and fragments of film poetry that make its own place on the edge of a document film. The film is a college of dialogue between nature, abandoned country, and human fancy. The director with sovereign poetry and a strong sense of grotesque introduces a myth of creation, human finality and continuousness of recovering nature. Huszárik’s individual style of merry resignation appears here again with features of particular abstract sensibility. There is an inherent reflection of time, particularly the impossibility of coming back in the picture. Whereas a film by itself main idea is that its existence in the light makes present what can’t return, that film in the light and movement becomes something that can never be alone.