ItвЂ™s a compelling thesis, though predicated less on supporting arguments than on dramatic feints and hallucinations, on scenes that either evaporate like smoke or strand the viewer in a thick cloud of metaphor. Eventually, she finds out about a brother she never knew she had named KГЎlmГЎn Leiter, whose violent reputation - he is said to have murdered a count named RГ©dey five years earlier - may explain the cruelty and suspicion that greet her at every turn.

At one point, Irisz is accosted by a snarling coachman (Levente MolnГЎr) at her hotel, but it will take more than a manhandling or two to deter her from her quest.

These strangers include the many pretty, petulant frowners who work at LeiterвЂ™s and various men who emerge to hiss cryptic warnings at Irisz (вЂњYou have awakened us!вЂќ вЂњBlood will flow here this week!вЂќ) before vanishing back into the torchlit night. But Brill has no interest in hiring Irisz and sends her away, setting a pattern for the sneering hostility and paranoia she will receive from nearly everyone she encounters. LeiterвЂ™s has since been restored to its old splendor, and its oily new proprietor, OszkГЎr Brill (the excellent Romanian actor Vlad Ivanov), clearly thought highly enough of the name to keep it. The first reversal arrives within minutes: IriszвЂ™s surname is Leiter, and she has come not to buy a hat but rather to apply for a job at the shop that her parents owned years ago before it burned down, taking them with it. The initial concealment of her gaze is telling who this young woman is and what she wants are among the movieвЂ™s most persistent mysteries. The movieвЂ™s first image is of a 20-year-old woman named Irisz (Juli Jakab), her eyes hidden by the brim of an enormous hat sheвЂ™s trying on at LeiterвЂ™s, a high-end millinerвЂ™s shop. We are in Budapest in the 1910s, a world of white-lace finery and horse-drawn carriages that is rivaled only by its sister city, Vienna, as the apex of European wealth and cultural refinement. Scholars of the waning glory days of the Austro-Hungarian Empire will have something of an advantage. But its peculiar dramatic alchemy - the way Nemes places his mad formal audacity in service of a tangled, perversely withholding narrative - makes it a rather more difficult one to absorb. This is an easier movie to watch than вЂњSon of Saul,вЂќ insofar as we cannot hear the machinery of mass murder grinding away relentlessly off-screen. It restored a vital element of disorientation to a story that had grown all too familiar.Дisorientation is even more the order of the day in вЂњSunset,вЂќ in part because its historical moment exerts far less of a grip on the collective imagination. The radicalism of вЂњSon of SaulвЂќ could be appreciated not just because it was so brutal and overwhelming, but also because it was so strange and destabilizing. Whether they traffic in grim horror or dubious uplift, movies about the Holocaust have long since hardened into their own predictable subgenre. It may also have rendered an unshakable verdict on Nemes himself, whose obvious technical ingenuity had found its most imposing subject - but also, in a way, its most obvious. He won an Oscar and nearly every international film prize under the sun for his 2015 feature debut, вЂњSon of Saul,вЂќ which plunged the viewer into a grimly persuasive simulacrum of a Nazi death camp and, for its many admirers, delivered the last word on how a filmmaker should depict the unthinkable. Where does an artist go after Auschwitz? LГЎszlГі Nemes, the director of the implacably sinister Hungarian drama вЂњSunset,вЂќ has had to grapple with the question as few others have.

Son of saul movie times