匈牙利說得上名的導(dǎo)演伸出一只手來就可以數(shù)清楚了：楊索，貝拉塔爾，紹博，瑪特·美莎露絲，伊爾蒂科·茵葉蒂。
《我的二十世紀》是茵葉蒂的處女座，從處女座的角度來說這部影片是完成的很不錯的。一對雙胞胎被不同的人收養(yǎng)長大，一個長成了象黃繼光一樣舍身運送炸藥包的革命分子，一個長成了縱情聲色的享樂主義者。兩個人因為同一個男人又將命運重新連接起來。原本很容易落入俗套的故事因為風(fēng)格化的處理和奇幻的穿插讓影片避免了諸多可以致使翻船的暗礁。
這幾位導(dǎo)演每個人都有獨特的電影風(fēng)格（很奇怪為什么那么一致的選擇了風(fēng)格化），他們也都受到了國際的關(guān)注和贊譽，但很難說匈牙利這些導(dǎo)演是否真的才華橫溢，楊索和貝拉塔爾都坦誠由于各種條件限制自己只能也只會這么拍，就這么拍成了自己一以貫之的風(fēng)格?！段业亩兰o》里的生硬的匠氣也很明顯，太多符號，太多象征，太多刻意（作為處女座還是可以接受的）。忽然發(fā)現(xiàn)這幾位導(dǎo)演似乎都喜歡拍黑白片，正如你很難把一張黑白照片拍的很難看，電影里其他一切皆失敗，唯美的畫面至少也會給保個底。
我對東歐電影一直抱有偏見，他們在某種特定的國際氛圍里沒能好好成長，但如果不是有這樣的國際氛圍，他們可能根本也無法誕生。

English Title: My Twentieth Century
Original Title: Az én XX. századom
Year: 1989
Country: Hungary, West Germany, Cuba
Language: Hungarian
Genre: Comedy, Drama
Director/Writer: Ildikó Enyedi
Music: László Vidovszky
Cinematography: Tibor Máthé
Cast:
Dorota Segda
Oleg Yankovskiy
Paulus Manker
Péter Andorai
Gábor Máté
Rating: 7.2/10




Hungarian female director Ildikó Enyedi’s ON BODY AND SOUL (2017), her first feature in 18 years, is the recipient of 2017 Golden Berlin Bear, so it is high time to reappraise her under-seen body of work, here comes her dazzling Black-and-White feature debut MY TWENTIETH CENTURY.

Capitalizing on the monochromatic mystique of a bygone era, the story focuses on identical twins Dora and Lili (Segda, a ), born in 1880, after their mother died and selling matches on a freezing cold night in Budapest, they are snatched away and lead separate lives. Their path will converge again in 1900, the turn of the century on the Oriental Express. Dora, a pert minx, dallies her way through men’s courtship and rooks them as much as she can, whereas Lili, a dour-looking revolutionist, carries on a bomb-attacking mission with steely resolution. Unbeknown to each other, both’s lives will soon be entangled with a mysterious middle-aged man Z (Yankovskiy, a magnetic cipher-like presence), a constellation of vignettes are engendered by alternating between Dora and Lili in their aggressive/passive sexual/power tugs-of-war with an inscrutable Z: playing hard to get, coquettishly libidinous, complete obedient, that is the gist of femininity’s unabashed duality, as a riposte to the sidebar, where the young Austrian philosopher Otto Weininger (played by Paulus Manker with gusto and ridicule), who would kill himself in 1903 at the age of 23, rants about his misogynistic take on women’s “whore/mother” dichotomy in front of a flock of suffragettes. In the hyper-surreal denouement, Dora and Lili finally meet inside a hall of mirrors (a motif almost runs to platitude), later arrives Z, ushered by a mule, a metaphor of men’s intransigence and if one recalls, it also heralds the twins’ separation at the first place.

The surreal touch is what makes Enyedi’s daring debut a novelty, picking up the baton from erstwhile Mitteleuropa New Wave standard bearers (Vera Chytilová’s DAISIES 1966, Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS 1970, to name a few within the knowledge of this reviewer), Enyedi interpolates these elements to impart her rumination on more abstract aspects: nature vs. human (the monologue of a Zoo-trapped chimp, a lab dog on the lam confronting a railway train, other topographic arrangements), cosmology (Greek chorus of glistening stars), and technology (Edison’s discovery opens and bookends the film, cinematograph, etc.), but this smorgasbord of ideas and conceptions fail to organically connect with the diegesis, a rookie indulgence for starters, often bite off more than one can chew - making every film as the last one. This approach does impinge on the cohesion of its central narrative, which could have been marshaled into a more scintillating doppelg?nger charade. Yet, if eccentricity and diverse nuggets are what the filmmaker intends to chalk up, Enyedi has done a bang-up job!

Experimental but mesmerizing, compendious yet idiosyncratic, and particularly has a unique eye for lightning and mise-en-scène, MY TWIENTH CENTURY is a symphonic pastiche of cinematic tricks and an unsparing feminist manifesto beckons for a more effervescent reception.

referential points: Vera Chytilová’s DAISIES (1966) 7.6/10; Jaromil Jires’ VALERIE AND HER WEEK OF WONDERS (1970) 6.9/10