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FUTURE FRAMES 2021

Marcell Farkas • Regista di Szeurum

“Un senso di ingenuità era uno degli obiettivi di questo film”

- Il regista ungherese evoca lo spirito di Richard Linklater nel suo cortometraggio, che parteciperà al programma Future Frames di EFP nell'ambito della 55ma edizione di Karlovy Vary

Marcell Farkas  • Regista di Szeurum

Questo articolo è disponibile in inglese.

Hungary born director Marcell Farkas had an initial interest in learning animation, but soon developed his style into all forms of filmmaking and was accepted to the University of Theatre and Film Arts in Budapest in 2019.

Now his film school effort Szeurum will be wending its way to European Film Promotion’s Future Frames, taking place as part of Karlovy Vary.. The film follows Peti, a severe diabetic and something of a loner, who discovers a meteorite has crashed through his window. It turns out that it’s been thrown by Irma, a girl in a space suit who believes there should be as much love on this earth as there is water. The two kindred spirits spend the night walking through the streets, discussing life on Earth in a film that is a low key delight. We talked to Farkas about how the film came to be and his hopes for Future Frames.

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Cineuropa: How did Szeurum originate?
Marcell Farkas: A writer came up with an initial idea and she got the idea from an article entitled “Sugar found in a meteorite.” But I then took control of the writing process and I wrote a story based on her original idea, which is about a boy who is addicted to sugar. I need a hard connection with the film I make and need to understand the motivations and storyline or it’s hard for me to shoot the movie. So I like to control everything, especially the writing process because writing is inseparable from directing for me.

It’s a very low-key film but deals with these massive questions of life and the universe. Do you like using the short form, which often allows filmmakers to explore how seemingly small moments have massive effects?
A sense of naivety was a goal for this movie, especially for the characters of Peti and Irma, who like to talk about big things and how to change the world. Irma thinks it’s a good and heroic thing to share “love” by throwing rocks into houses, even if they cause damage. It’s like the sugar Peti should avoid due to his diabetes: it’s tasty but can also be toxic.

I was very inspired by Richard Linklater’s Suburbia where they talk about existential problems all night, sat on the streets and next to a gas station. They’re drinking and smoking all night because they are angry at the world or suffer from depression. Those people have a metaphorical blind spot in their minds. For me it is one of the most important things is to explore this blind spot and show it

How did you go about balancing a sense of magical realism with the darker aspects of the film?
My instinctive world is somehow inseparable from the darkness. I work with a lot of intuition and feeling, which can be dark much of the time. I need to think about how to balance the humour of the movie, but I need to do that with a more conscious rather than instinctual touch.  

You’re heading to Karlovy Vary for Future Frames. Can you let us know what you’re expecting from it?
I really want to develop my knowledge about the European film industry and the market part of it. I’m sure that I will make some friends there, which is the most important thing in life.

What are you working on next?
My second-class project is named Prague which is more complex than Szeurum. It is about a Krishna girl who searches for a wounded refugee child in a forest where animals are dying. Prague is closest to the fantasy and thriller genres.

And I’m writing my final class project which is named Róma. It’s about an orphan kid who can see ghosts and sometimes he dreams about his future. He writes poems from his mother to himself and one day he decides to go and find his mother’s grave. It’s a dramatic road movie.

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