World Cinema Panorama review - MIRAGE by Szabolcs Hajdu

The never ending influence of the modern western in current European cinema, as further shown by Mirage, the latest work by filmmaker Szabolcs Hajdu, screened in the World Cinema Panorama section of the 22nd Febiofest - Prague International Film Festival.

 

There is no doubting the prominence of modern western in arthouse cinema, particularly in European arthouse cinema. One of the recent works that most stands out among these specimen is the latest feasture by Szabolcs Hajdu, called Mirage. The film takes place in the sparsely inhabited Hungarian countryside, on wonderful and immensely vast plains where the horizon is deceitfully altered by huge plotholes. An unusual environment for a lone African footballer, who mysteriously wonders into town and ends up trapped within a well guarded farm run by modern slaveholders.

 

In this film, delicate themes such as slavery, racism and marginalisation are represented in an unusual and yet enriching way. The modern influence itself is a representation of a type of appeal that the filmmaker uses to make the film feels universal and regional at once. There is in fact a staggering socio-political awareness that is sharply contrasting with majestic camerawork and the quietness of the characters that truly remind us of the works of Sergio Leone. The main difference here, is that the film is less operatic - the music is there, and it is intense, but in a rather worryingly domestic way, naturally accentuating the mystery of the situation and giving a precise estimate of the afore mentioned themes and issues which it deals with. In other words, despite dealing with Django Unchained like themes and issues, the approach is less about blatant over stylisation, and more geared towards a clever blend of realism and surrealism.

Surrealism in particular, as the title suggests, is a playful element that allows Mirage to exist on a parallel outrageousness. There are moments, particularly in a sequence when the footballer attempts to flee the farm, in which we are shown his inner thoughts fruit of maddening subconciousness. Likewise, the very existance of the particular locations and colourful characters are rather bizarre and clever, and an almost complete lack of melodrama, creates a brave and unusual mix that will probably feel awkward and cold to some but is certainly equally as admirable and allows the film an air of originality.

 

All this is given enough chance to sink in with the viewer through a systematic type of slow rhythm. Mirage is a meditative film, and the carefully dosed dialogue accentuates this approach. It was hence imperative that the performances should hold a quiet type of force and effectiveness. It is a treat, hence, to see Isaach de Bankolè cast as the pivotal love stranger, an African Clint Eastwood, whose presence wholly contrasts with the locals right from the start, but whose very intensity is full of charisma and machismo balanced with occasional bursts of vulnerability that makes his restrained anger all the more understandable.