How ‘The Hungarian Dressmaker’ Makes Slovaks “Face Up” to a Dark Past They’d Rather Forget

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As a history enthusiast and film connoisseur with a keen interest in stories that shed light on overlooked chapters of our past, I find “The Hungarian Dressmaker” to be a compelling masterpiece. The movie, directed by Iveta Grofova, skillfully portrays the turbulent years of the Nazi-aligned Slovak state, a period often shrouded in silence and misrepresentations in Slovakian history.

As the creator of The Hungarian Dressmaker, Slovakia’s entry for the Best International Feature Film at the Academy Awards, I can’t help but feel that this story resonates even more deeply today.

The filmmaker, Jakub Tlolka’s interpretation reveals, emphasizes the importance of revisiting a particular aspect of political history through the World War II drama, which competed in the main Crystal Globe competition at Karlovy Vary Film Festival and stars Alexandra Borbely. “I felt it was crucial to bring this topic back into focus,” Grofova expresses during a recent THR Presents panel, supported by Vision Media. The character Marika (Borbely), a Hungarian widow dressmaker, provides refuge to a Jewish boy in her home near the Slovak-Hungarian border. Based on Peter Kristufek’s book “Emma and the Death’s Head,” the film unfolds during the tumultuous years of the Nazi-backed Slovak state, compelling Slovakians to confront a troubled past that Grofova suggests many would rather forget.

In today’s progression, there’s a striking similarity between the past era of World War II and now. Both periods share a troubling trend where minorities are often branded as the culprits for our perceived or actual injustices and grievances, Grofova points out. However, Slovaks tend to shy away from acknowledging this part of their nation’s history because it doesn’t align with the positive image or self-perception they aspire to maintain.

Zuzana Mistrikova, the producer, agrees and further explains that the story serves as a stark illustration of how socially pervasive ideological hatred can affect a society in today’s world political landscape. She notes, “Sadly, we’ve seen a rise in inflammatory language from certain politicians who have discovered they can capitalize on people’s fears.” Therefore, she believes the film is crucial and timely.

Who might be interested in watching a movie like “The Hungarian Dressmaker ” in 2024? When we initially worked on the film, our aim was to preserve the depicted events as they held significance for us. However, it wasn’t until the film’s release that we recognized its relevance to current times. … Indeed, the intended audience for the film corresponds with the cinematic style it uses. Therefore, there is a connection between those who appreciate such films and the film itself.

Grofova finds a universal message when the movie is boiled down to its core values. She often points out the recurring theme of the main character confronting mortal peril. Remarkably, this character, despite facing grave danger, manages to exhibit humanistic qualities and acts accordingly. “The current sense of threat we face primarily involves our comfort, yet we struggle to summon the courage and spiritual fortitude that the character in the film exhibits,” she notes.

Borbely is accompanied by the group consisting of Milan Ondrík, Nico Klimek, and Alexander E. Fennon. Grofova delivers a captivating performance that deserves accolades, as she skillfully handles a challenging role: “I aimed to narrate the tale of a woman who yearns for invisibility, yet cannot achieve it, which is a formidable task for an actor,” the director confesses. “In my opinion, Alexandra has mastered that challenge exceptionally well.

This edition of THR Presents is sponsored by REASON8 Films.

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2024-11-21 21:25