Hungarian Film Industry faces Ideological Divide despite International Success

Budapest,Hungary – The Hungarian film industry presents a paradox: while attracting international productions,it grapples with internal struggles over state funding. Local creatives find it increasingly arduous to realize their projects due to what they perceive as ideologically driven funding decisions. Proton Cinema, a self-reliant production company in Budapest’s 13th district, a site with a somber history as a former Jewish ghetto during World War II, exemplifies this dichotomy. Despite producing internationally recognized films, the company faces challenges in securing domestic funding from the National Film Institute (NFI).

Proton Cinema’s office, located in a modernist house with a poignant past, serves as the base for productions like the Brutalist, Brady Corbet’s Holocaust drama. The film has garnered significant attention, including four Baftas and 10 Oscar nominations. Viktória Petrányi,the Hungarian co-producer and Proton’s co-founder,emphasized the importance of filming in Hungary,stating,We couldn’t imagine The Brutalist being shot elsewhere.

International Successes and domestic Funding Challenges

Proton Cinema boasts a portfolio of international movies, including the award-winning horror film Midsommar (2019), starring Florence Pugh, and Kornél Mundruczó’s Pieces of a Woman. however, unlike many countries where film companies producing such blockbusters receive substantial state funding or fiscal incentives, Proton Cinema’s domestic films are, according to Petrányi, mainly self-financed.

This funding disparity stems from the policies of Hungary’s National Film Institute (NFI), a government-controlled body. Critics argue that the NFI predominantly sponsors movies that align with the right-wing ideology of Viktor Orbán’s ruling Fidesz party. Dávid Jancsó, the Oscar-nominated editor of The Brutalist, voiced concerns about the allocation of taxpayer money, stating: Governments can decide whether to spend taxpayers’ money on propaganda films or on films that will win awards. In Hungary, the decision was for propaganda movies.

the Legacy of Andy Vajna and the Rise of the NFI

The golden era of post-socialist Hungarian film was largely shaped by Andy Vajna, a producer who returned to Hungary after a triumphant career in Hollywood, working on franchises like Die Hard and Terminator. From 2011, Vajna served as the Fidesz government’s commissioner tasked with revitalizing the national film industry.

Jancsó acknowledged Vajna’s contribution to nurturing talent within the Hungarian film industry, noting that Hungary raised surprisingly many talented film-makers during his tenure. This included László Nemes, whose film Son of Saul (2015) won a Bafta for best foreign-language film.

Though, following Vajna’s death in 2019, the landscape shifted. the semi-independent establishment that previously dispersed governmental funding was replaced by the NFI,which now operates directly under the prime minister’s cabinet office and is controlled by a state nominee.

Struggles for hungarian Creatives

Despite Hungary’s appeal as a filming location for international productions due to its picturesque landscapes, well-developed infrastructure, and a 30% tax exemption, Hungarian creatives report difficulties in realizing their own projects. Gábor Herendi, director of gone Running, the most popular Hungarian movie as the fall of the iron Curtain, revealed that the film was made with minimal funding pieced together from donations, favors, and below-market wages after the NFI rejected the script.

Herendi, who suspects he has been blacklisted from state funding, believes this option funding model is unsustainable. The film was definately made on a very tight budget, which doesn’t make for a good atmosphere, he said.

Jancsó highlighted the disproportionate impact on young artists, who struggle to secure positions in well-paid, government-funded productions. Andor Berényi, a young director whose first movie has not received NFI support, echoed this sentiment. They say this is the golden age of independent film. But this model doesn’t work for new directors, who can’t ask for favors or funding, he said.

Berényi suspects political motivations behind the rejection of his film, which tells the story of a man resorting to illegal activities to finance his father’s care home placement. He is now exploring options to shoot it, even if only as a short film. If someone wants to create art and express something about society, they won’t be silenced.they will share their story, even if it means going broke in the process, Berényi stated.

NFI Funding Priorities

In 2024, the NFI allocated 6.5 billion Hungarian forints (£13 million) to movie production.The largest portion, 2.7 billion forints, was awarded to operation Sámán, a drama based on a 2022 rescue operation for Hungarian soldiers in Kabul, filmed in collaboration with the Hungarian army.

other recipients of state funding frequently include historical works,which,according to Dorottya Helmeczy,a producer at Megafilm,are crucial for national identity. Through historical films, we can find ourselves and our roots in the past, she said.

megafilm’s productions, including Fairy Garden, a series about the history of Transylvania, and Peace – Above the Nations, a docudrama about the 1920 peace treaty that detached Transylvania from Hungary after World War I, have received funding from NFI.

Helmeczy emphasized the necessity of state support for Hungarian film production, stating, Hungarian film production is not a self-enduring system but one that requires state support. She noted that films made for the Hungarian audience rarely generate significant profit in a contry of 9 million people accustomed to Hollywood blockbuster standards.

Government Investment and the Future of Hungarian Film

At the opening ceremony for a studio in Fót, near Budapest, Viktor Orbán celebrated the capital’s status as the second most sought-after filming location in Europe. The government invested 42 billion forints (£87 million) to expand the Fót site, which has served as a backdrop for productions like The Witcher and Poor things.

Film is not only an industry but also an art, and art is free, Orbán said, adding that every Hungarian filmmaker would benefit from the expansion.

Conclusion

While Hungary continues to attract international film productions and invest in its infrastructure, a significant divide persists within the industry. Independent filmmakers struggle to secure funding for projects that do not align with the government’s ideological agenda, raising concerns about artistic freedom and the future of Hungarian cinema. The success of films like The Brutalist underscores the potential of Hungarian talent, but the challenges faced by local creatives highlight the need for a more equitable and inclusive funding system.