2017 ‘Testről és lélekről’ Directed by Ildikó Enyedi
Two introverted people find out by pure chance that they share the same dream every night. They are puzzled, incredulous, a bit frightened. As they hesitantly accept this strange coincidence, they try to recreate in broad daylight what happens in their dream.
Om kropp og sjel, Testről és Lélekről, Beden ve Ruh Üzerine, Dusza i cialo, 肉与灵, 梦鹿情缘, 梦鹿情谜, Corpo e Alma, En cuerpo y alma, 우리는 같은 꿈을 꾼다, عن الجسد والروح, За тялото и душата, En cos i anima, O těle a duši, Med krop og sjæl, Körper und Seele, Η Ψυχή και το Σώμα, Kosketuksissa, Corps et âme, על גוף ונפש, Tijelo i duša, Corpo e anima, 心と体と, Apie kūną ir sielą, Teströl és Lélekröl, Dusza i ciało, Despre trup și suflet, О теле и душе, O tele a duši, Om själ och kropp, Beden ve Ruh, Тіло і душа, 夢鹿情緣, 夢鹿情謎
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"And all at once, you are the one I have been waiting for
King of my heart, body, and soul, ooh whoa
And all at once, you're all I want I'll never let you go
King of my heart, body, and soul, ooh whoa"
Absolutely refreshing to see a love story that involved people who weren't perfect 10s! It is about time real people with real issues get some face time before the camera! Because in the real world nobody is perfect, we all carry baggage of some sort or another!
My heart ached for this couple! As deeply stifled and awkward as they were I found it was easy to relate to their story for if you think about it love is messy business! No one within its grip remains unscathed!
Nobody in their right mind wants to be single ready to mingle for it is one of the most maddening experiences one has to endure! I recall my first love and oh…
It is not very easy to meet people in real life, even though we might have 100's on social networking sites. There is still the awkwardness involved along with the first word to say and the letting someone in your life. The setting of On Body and Soul might be unusual to form a sensitive love story but who says you can't find love in a slaughterhouse?
Endre and Mária work together in a slaughterhouse and have the same dream every night. They meet as deer in the forest. Endre is the CFO and Mária is the precise quality inspector. Endre has given to his routine of daily life while Mária stays to herself. After they find out about their…
me: I truly saw myself represented onscreen for maybe the first time ever. That's how important this year's oscar nominees are.
someone: oh yeah Lady Bird really affected me too 💕 it was so relatable
me, thinking about the scene where maria is eating gummy bears and watching porn: lady what
Reviewed on Cinema Eclectica.
Also part of 52 films by women 2017: 49/52.
There's every chance that this won't strike anyone as deeply as it struck me, but the depth of feeling that Ildikó Enyedi's dream romance left me with is comparable to what normal people who like movies that make sense get out of The Shawshank Redemption. Alexandra Borbély's lead performance as Maria, an unhappy, repressed autistic woman who might have found a connection in the least romantic place on Earth is absolutely shattering, but the real star is Enyedi. Much more narratively controlled than her debut My Twentieth Century, but no less strange and innovative, she demonstrates a level of formal precision that puts her alongside a Glazer…
Mária is a shy young woman who remains isolated from her immediate environment possibly because of her peculiar personality and aversion to physical contact. She begins to work in a cattle slaughterhouse, a cold place where life ends in a rather cruel way, and that's where she meets Endre; he is a lonely man, older than her, with one of his arms totally paralyzed and an air of nostalgia after having given up the sentimental stage of his life. Mária and Endre will find that they share a unique connection that will lead them to gradually come closer and explore their desires.
Testről és lélekről is a film about the inevitable fate between two introverted people who did not seem…
i don't know if this is the most beautiful thing I've ever seen or the most disturbing thing I've ever seen and at this point I'm too afraid to ask.
AFI Fest 2017: Movie #6
We're all just looking for a connection. Like Upstream Color in the style of Yorgos Lanthimos, fantastical elements are woven into the setting to elevate these internal desires. Our protagonists struggle to be present in their lives, one haunted by heartbreak and the other lost in social cues. They can't connect in their lives, but they can in their dreams.
Elegant compositions frame brutal and beautiful images with equal care. This takes a truly dark, unpleasant turn near the end, and the slauterhouse imagery is tough to watch, but I do believe most of it to have been appropriate within the context. I'm thrilled Netflix is going to distribute this -- On Body and Soul deserves a proper audience, but only one who's ready for what it has to offer. It does require patience, particularly in the first act, but for me, it was certainly worth my time.
Rating: 81/100
why is everyone calling this a beautiful understated romance? what the FUCK. the “romance” in this was the most disgusting exploitative shit ive ever seen. i wish i could rant more about how awful it was without spoiling the plot that hinged entirely on the nasty imbalanced power dynamic between the two characters. this is not love this is a nightmare wtf. i’ve never seen such corpse-like sex on screen. so many subplots were brought up and then seemingly abandoned. this entire movie was just nothingness and the most it did for my life was leave me disgusted
half a star for the music shop scene and the music shop scene ONLY.
[5]
My capsule review for Cinema Scope's TIFF coverage:
In describing the histrionic performances that tend to nab Oscars, Mike D’Angelo has noted that voters and juries often mistake “most acting” for “best acting.” I thought of this while watching On Body and Soul, perplexing winner of the Golden Bear at this year’s Berlinale. It isn’t just that this, the comeback film from Hungary’s Ildikó Enyedi (My Twentieth Century, Simon the Magician), hasn’t got a patch on other Berlin contenders from Hong Sangsoo, Alain Gomis, and Aki Kaurismäki, although there’s certainly that. No, the problem here is that the jury seems to have awarded Best Picture to the “Most Picture,” a film so muddled and overstuffed that it could, in…
