Karlovy Vary 2024: The Hungarian Dressmaker (by Iveta Grofová) | Review
Iveta Grofová’s The Hungarian Dressmaker is a powerful period drama that poignantly captures maternal instincts and the struggle for survival in war-torn Slovakia, leaving audiences deeply moved and captivated.
Slovak filmmaker Iveta Grofová is not new to Karlovy Vary, and her latest film, The Hungarian Dressmaker (original title: Ema a Smrthilav), is a period drama that definitely moved many in the audience. Twelve years after premiering her debut film Made in Ash at the festival in 2012, Grofová is back in Karlovy Vary to present her third feature film, competing in the Crystal Globe Competition. The Hungarian Dressmaker recalls maternal instincts and tells a tale of survival against the brutality of war, taking viewers on an emotionally subtle journey of a widowed Hungarian dressmaker in Slovakia and her relationship with a Jewish boy.
This film is based on the novella by Petr Krištúfek, where the story takes place on the Slovak-Hungarian border near Bratislava. Set against the backdrop of the turbulent years of World War II and war-torn Slovakia, Grofová tells the story of Marika, a young Hungarian dressmaker once married to a Slovak soldier, who tries to make a living as an independent woman after the salon she works for closes during the ensuing war.
With the state deporting most of its Jewish population to German-occupied Poland, Marika now depends on managing the farm left by her late husband. Drama unfolds with the discovery of Simon, the Jewish tailor’s son, hiding in her barn.
What follows in this solid drama are glimpses into the lives of the villagers, torn between nationalism, unease, and unsettling times, as the protagonist finds ways to survive and save the young boy from the perils of war.
This film also offers a perspective on war and its impact, not just from Marika’s viewpoint but also from Simon’s, the young boy who is coming to terms with life as he finds ways to keep himself alive.
There is a subtle play of emotions regarding Marika’s loyalties, love, and the losses she faces in the film. The film’s cast, led by Slovak-Hungarian actress Alexandra Borbélyová as Marika, provides a fantastic and honest portrayal of a war-torn widow with maternal instincts, while young Simon, played by Nico Klimek, gives us insight into the imagination of a young boy whose life depends on Marika.
The director’s use of both Hungarian and Slovak languages adds interest for the audience, highlighting social tensions, especially in a church scene during Christmas Eve, subtly pointing to the authoritative voices against minorities in the war-stricken villages.
The film’s cinematography speaks volumes, showcasing the village outskirts of Bratislava during the war-torn period, depicting the blurry lines of unsettling, bleak times ahead with cool color tones of browns and grays. The film captivated the audience so much that the applause lasted several minutes after the world premiere.
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