DIRECTOR: Iveta Grofova
STARRING: Alexandra Borbely, Nico Klimek, Milan Ondrik
RUNNING TIME: 2 hrs 9 minutes
LANGUAGE: Slovak, Hungarian, Czech
It's the 1940s. The Slovak state witnesses the rise of nationalism and it's not an auspicious time for minorities. The turbulent social mood also impacts the widow Marika, who loses her job in a dressmaker's shop. Given the increasing anti-Hungarian sentiment she shuts herself away, particularly since she is harbouring a little Jewish boy.
***
The Hungarian Dressmaker is the fourth feature for Slovak director Iveta Grofova and it's the second time she has represented her country for the Oscars after Made in Ash in 2013. The film had its world premiere at the Karlovy Vary Film Festival in June 2024, and it'll soon be premiering across Slovakia at the end of September. The film is an adaptation of Petr Kristúfek's book of the same name.
Members of the Slovak Film and Television Academy announced that The Hungarian Dressmaker would be their selection at the Cinematik Festival in Piestany by SFTA president Katarína Krnácová. "We would like to thank the organizers of this great festival very much for being able to solemnly announce the name of the winning film during the closing ceremony, which will represent Slovakia in the fight for the Oscar. I firmly hope that our cooperation with the festival will be even more intense in future years," said Krnácová. The film was selected over ten other contenders.
The film was produced by Zuzana Mistríková, Lubica Orechovská (PubRes), Ondrej Trojan (T.H.A.), Sára László and Marcell Gerö (Campfilm) and the co-producers are Sára László, Marcell Geröo and Miloslav Glac (Campfilm).
The Hungarian Dressmaker is a war drama and it was filmed in Bratislava, Slovakia.
To check out all previous submissions for Slovakia, click HERE.
STARRING: Alexandra Borbely, Nico Klimek, Milan Ondrik
RUNNING TIME: 2 hrs 9 minutes
LANGUAGE: Slovak, Hungarian, Czech
It's the 1940s. The Slovak state witnesses the rise of nationalism and it's not an auspicious time for minorities. The turbulent social mood also impacts the widow Marika, who loses her job in a dressmaker's shop. Given the increasing anti-Hungarian sentiment she shuts herself away, particularly since she is harbouring a little Jewish boy.
***
The Hungarian Dressmaker is the fourth feature for Slovak director Iveta Grofova and it's the second time she has represented her country for the Oscars after Made in Ash in 2013. The film had its world premiere at the Karlovy Vary Film Festival in June 2024, and it'll soon be premiering across Slovakia at the end of September. The film is an adaptation of Petr Kristúfek's book of the same name.
Members of the Slovak Film and Television Academy announced that The Hungarian Dressmaker would be their selection at the Cinematik Festival in Piestany by SFTA president Katarína Krnácová. "We would like to thank the organizers of this great festival very much for being able to solemnly announce the name of the winning film during the closing ceremony, which will represent Slovakia in the fight for the Oscar. I firmly hope that our cooperation with the festival will be even more intense in future years," said Krnácová. The film was selected over ten other contenders.
The film was produced by Zuzana Mistríková, Lubica Orechovská (PubRes), Ondrej Trojan (T.H.A.), Sára László and Marcell Gerö (Campfilm) and the co-producers are Sára László, Marcell Geröo and Miloslav Glac (Campfilm).
The Hungarian Dressmaker is a war drama and it was filmed in Bratislava, Slovakia.
To check out all previous submissions for Slovakia, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“I hope you won’t mind if I stay for a cup of coffee. It’s been a difficult day.”
The Hungarian Dressmaker, directed by Iveta Grófová, is a haunting period drama that intricately explores the intersection of war, survival, and identity in 1942 Slovakia. Based on Petr Krištúfek's novella “Ema and the Death’s Head,” the film immerses viewers in the life of Marika, a Hungarian widow struggling to maintain a sense of normalcy as World War II fractures her community. Grófová, known for her nuanced storytelling, creates an emotional landscape that feels both intimate and universal, capturing the devastation of war through the eyes of a woman and a young boy trying to survive.
At the heart of the film is Marika, played by Alexandra Borbély, a Hungarian dressmaker who has lost her job due to the deportation of Jews in Nazi-occupied Slovakia. Her quiet life in limbo takes a dramatic turn when she discovers Simon, a Jewish boy hiding in her barn. The relationship that develops between them becomes the emotional core of the film, as Marika is forced to decide whether to risk her own life by sheltering the boy. Borbély’s performance is gripping, as she navigates the complex layers of fear, maternal instinct, and moral uncertainty that define her character.
Grófová’s use of language is one of the film’s most striking elements, with characters alternating between Slovak and Hungarian to reflect the social and political tensions of the era. The switching between languages in different settings, such as in the church or at home, serves as a subtle but powerful commentary on national identity and belonging. In doing so, Grófová highlights the deep divisions created by war, particularly in a region where borders and allegiances were constantly shifting. This linguistic tension mirrors the larger conflict tearing apart Central Europe, adding an additional layer of meaning to the film’s dialogue.
The Hungarian Dressmaker excels in creating an atmosphere of disorientation and confinement. Cinematographer Martin Strba’s use of rack focus and blurred, boxed-in shots perfectly captures the sense of a world unraveling. The muted color palette of grays and browns amplifies the bleakness of wartime Slovakia, while also reflecting the emotional turmoil of the characters. This visual style not only complements the narrative but also draws the audience deeper into the disjointed reality faced by Marika and Simon as they navigate the uncertain and often terrifying world of the Holocaust.
The Hungarian Dressmaker is a powerful, thought-provoking film that deftly balances personal drama with the broader horrors of war. Through its richly developed characters, nuanced storytelling, and striking cinematography, Grófová has crafted a film that lingers long after the credits roll. It is a poignant meditation on survival, sacrifice, and the moral dilemmas faced in times of unimaginable hardship, showcasing the best of Grófová’s filmmaking talent. This film, though quiet and slow-burning, makes an indelible impression with its emotional depth and historical resonance.
(This review contains spoilers.)
“I hope you won’t mind if I stay for a cup of coffee. It’s been a difficult day.”
The Hungarian Dressmaker, directed by Iveta Grófová, is a haunting period drama that intricately explores the intersection of war, survival, and identity in 1942 Slovakia. Based on Petr Krištúfek's novella “Ema and the Death’s Head,” the film immerses viewers in the life of Marika, a Hungarian widow struggling to maintain a sense of normalcy as World War II fractures her community. Grófová, known for her nuanced storytelling, creates an emotional landscape that feels both intimate and universal, capturing the devastation of war through the eyes of a woman and a young boy trying to survive.
At the heart of the film is Marika, played by Alexandra Borbély, a Hungarian dressmaker who has lost her job due to the deportation of Jews in Nazi-occupied Slovakia. Her quiet life in limbo takes a dramatic turn when she discovers Simon, a Jewish boy hiding in her barn. The relationship that develops between them becomes the emotional core of the film, as Marika is forced to decide whether to risk her own life by sheltering the boy. Borbély’s performance is gripping, as she navigates the complex layers of fear, maternal instinct, and moral uncertainty that define her character.
Grófová’s use of language is one of the film’s most striking elements, with characters alternating between Slovak and Hungarian to reflect the social and political tensions of the era. The switching between languages in different settings, such as in the church or at home, serves as a subtle but powerful commentary on national identity and belonging. In doing so, Grófová highlights the deep divisions created by war, particularly in a region where borders and allegiances were constantly shifting. This linguistic tension mirrors the larger conflict tearing apart Central Europe, adding an additional layer of meaning to the film’s dialogue.
The Hungarian Dressmaker excels in creating an atmosphere of disorientation and confinement. Cinematographer Martin Strba’s use of rack focus and blurred, boxed-in shots perfectly captures the sense of a world unraveling. The muted color palette of grays and browns amplifies the bleakness of wartime Slovakia, while also reflecting the emotional turmoil of the characters. This visual style not only complements the narrative but also draws the audience deeper into the disjointed reality faced by Marika and Simon as they navigate the uncertain and often terrifying world of the Holocaust.
The Hungarian Dressmaker is a powerful, thought-provoking film that deftly balances personal drama with the broader horrors of war. Through its richly developed characters, nuanced storytelling, and striking cinematography, Grófová has crafted a film that lingers long after the credits roll. It is a poignant meditation on survival, sacrifice, and the moral dilemmas faced in times of unimaginable hardship, showcasing the best of Grófová’s filmmaking talent. This film, though quiet and slow-burning, makes an indelible impression with its emotional depth and historical resonance.
