Reflections on a Cinematic Trilogy: László Nemes’ Latest Work
Film festivals often serve as more than just entertainment venues; they are crucial platforms for profound cinematic art. Hungarian director László Nemes continues to use this stage to explore significant themes with his latest film, Orphan. Similar to his debut, the critically acclaimed Son of Saul, Orphan is a serious exploration of the Jewish experience in mid-20th century Europe. Though it includes unique scenes like a bar-room brawl with a pierrot and concludes at a funfair, the film maintains a grave tone throughout. Despite its stylistic brilliance, Orphan might be seen as a step back from the high standards Nemes set with Son of Saul, presenting a compelling premise that ultimately falls short of exploring the complex geopolitical issues it hints at.
Nemes’ trio of films could be viewed as a thematic trilogy. Starting with the Holocaust in Son of Saul, he then revisited the dawn of the First World War in Sunset, and now moves to the aftermath of the Second World War in Orphan. The film begins with a poignant moment in 1949, as young Andor Hirsch is released from a Hungarian orphanage into the care of Klára (played by Andrea Waskovics), his estranged mother. The reunion is delicate, as Klára is advised to be patient with Andor, who does not remember her. The narrative soon follows Andor’s fascination with his late father, a ticket salesman with ties to the entertainment industry and a devout Jew, which deeply influences the young boy.
Orphan is visually distinct, enveloped in a sepia tone that it maintains throughout its duration. The timeline progresses to 1957, amidst the ruins of a Budapest reeling from a brutally suppressed student-led uprising. Teenage Andor, now portrayed by Bojtorján Barabás, roams the bombed-out city with his friend Sári (Elíz Szabó), evoking the atmosphere of post-war films like Roberto Rossellini’s Germany Year Zero. During their escapades, Andor stumbles upon a gun, a discovery that ominously echoes the dramatic principle of Chekhov’s gun.
The initial suspect for the gun’s possession is Sári’s brother, a fugitive from the failed revolution, hiding from the authorities. Sári’s and Andor’s families are intertwined, as both their mothers work together and share the burden of the ongoing political strife, with plans to smuggle Sári’s brother to America briefly touching the story.
However, the plot thickens with the entry of Berend Mihály (Grégory Gadebois), a rugged butcher who rides a motorbike with a sidecar and has a complicated relationship with Klára, Andor’s mother. Despite his non-Jewish identity hinted at by his offering of pork, Berend becomes a significant and somewhat menacing figure in Andor’s life, setting the stage for deeper revelations and conflicts.
The film cleverly transitions from a focus on national to personal identity crises, with Gadebois delivering a compelling performance as a complex antagonist. However, the narrative struggles to fully engage, as Andor’s character, despite Barabás’ strong presence, lacks developmental depth and the script circles around his initial motivations without significant evolution. This metaphorical reflection of post-war Hungary offers a poignant narrative but lacks the nuanced storytelling that might elevate it further.
Title: Orphan
Festival: Venice (Competition)
Director: László Nemes
Screenwriters: László Nemes, Clara Royer
Cast: Bojtorján Barábas, Andrea Waskovics, Grégory Gadebois, Elíz Szabó, Sándor Soma, Marcin Czarnik
Sales agent: Charades
Running time: 2 hrs 12 mins
Daniel Hayes is a business journalist with a focus on market trends, startups, and corporate strategies.
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