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The Way

Az 掖


Director : Ferenc Moldovnyi
Photography : Tibor Mathe
Editing : Marta Revesz
Music : Tibor Szemzo
Sound : Istuan Petohazi
Producer : Fabrice Puchault, Ferenc Moldovnyi
1068 Budapest, Varosligeti Fasor 38
Phone: 36-1-351-7760 / Fax: 36-1-351-7766
HUNGARY / 1997 / Chinese / Color / 16mm / 90 min

Ferenc Moldovnyi

1960年、ハンガリーのデブレッツェンに生まれる。82年、デブレッツェン師範大学卒業。82年から86年までパノニア撮影所で助監督として勤務。同時にブダペストのロランド・エートヴェース大学で哲学を学ぶ。87年から90年までブダペスト演劇・映画アカデミーで学び、パリのルイ・リュミエール映画学校で1年を過ごす。映画監督として卒業。以来、数本のドキュメンタリーを製作。『Inauguration』(87)、『Here and Now』(88)、『The Godfather』(93)、『If We Eat a Beaver...』(94−95)など。『路道』は初の長編映画である。

Born in Debrecen in 1960. Graduated from the Debrecen Teacher Training College in 1982. From 1982 to 1986 worked as assistant director at Pann溶ia Filmstudios. Meanwhile attended the Philosophy Faculty of the L羊nd E嗾v耀 University in Budapest. From 1987 to 1990, studied at the Budapest Academy of Drama and Film and spent one year at the Paris School Louis Lumi屍e. He graduated as a film director and has made several documentaries. They include Inauguration (87), Here and Now (88), The Godfather (93), If We Eat a Beaver... (94-95). The Way is his first feature film.


文化大革命下の中国に青春を砕かれ、その後ハンガリーに移民した初老の中国人男性の終わりない「愛」探しと北京に残された息子の「真実」探しを、二人のモノローグと映像でつづる。長年ドキュメンタリーを作ってきたハンガリー人の監督が、異国で人生の折り返し点を迎える男の孤独や苦悔を実録したフィクション作品。 An elderly Chinese man, now living in Hungary, reminisces his life of broken marriages and crushed dreams while he continues to search for ideal love. His twenty-year old son, an aspiring poet in Beijing, lives a wandering lonesome life pursuing an ideal truth. The Hungarian director uses monologues and documentary- style images to portray a strong subjective sense of reality in his first feature film.



Director's Statement

Is it really possible to grasp the most important metaphysical questions of life through reality or someone's true story? Could it be that the direct depiction of reality covers up the essence of the matter, can the traditional tools of documentaries reach the secrets of the soul? Such questions came to my mind when after a long preparation-period I started to shoot my film The Way. I had to find my hero, a genuine story, the cinematographic form and method that was suitable to interpret concrete and philosophical matters. I believe that I had to find a " way, " other than the usual sociographical, direct depiction of documentarism, a narrative style. Using the fragments of reality I wanted to build a more soul-stirring, a more genuine " reality. " The aim was to fuse subjective reality with drama and lyricism to reach a deeper artistic truth. I spent a long time among my Chinese friends until I found my hero and the story that corresponded with my concept. Making this film was a long journey for me; it was " the way " I had to take.


Yamagata International Documentary Film Festival Organizing Committee