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The Electrons

Sometimes it’s better not to know the truth.

synopsis

Shortly after the death of her husband (a driving school instructor), Olga discovers signs that he fell deeply and hopelessly in love with one of his young students during the last weeks of his life. This strikes her as more than a surprise, since their marriage wittnessed a kind of renaissance during these times. Throughout the meandering of the story, the widow discovers short novels her late spouse, Imre left behind. These are different love stories about different stages of love in different cities of Europe which come alive through her eyes. By absorbing these stories she discovers the impact of new love (Spring in Rome), the green-eyed monster of jealousy (Summer in Belfast), and the loss of inspiration as love fades (Autumn in Paris). Obviously, these stories (and the tones set by them) with their various characters and places are all works of fiction - and yet, in their bare essence they are all about Imre and the young student. Olga has to face the fact that her happy and short-lived “2nd bliss” with Imre was due to his love to another woman. The fourth tale (entitled Winter in Budapest) reconstructing the story of Olga, Imre, and the young unaware object of his admiration is finally written by the widow, following a few notes Imre left behind in his car. Through the journey of the 4th story (the real past), she realizes that it does not, in fact, matter why they were happy, as long as they were and that sometimes it is better not to see the whole picture.

Director’statement

The Electrons is a movie about forgiveness. Besides being a gentle, soft, intimate and bitter-sweet love story about an elderly couple, and the husband’s attraction to a young girl (somewhat along the lines of Away from her) it is also an excellent opportunity for style exercise. Hopefully throughout the four emotional reflections of Imre, I will have the chance to show audiences a coldish, snowish-gray Budapest story, the touch of a colourful, young and energetic Rome, a hot, dry and documentaristic Belfast summer, and a really warm, human, melancholic Paris. The “episodes” are organic parts of the whole story: the first three are steps, bricks in the structure, that lead to the plot of the 4th one, the last film in the film – which is the actual prequel to the “big” story. The switching of the point of views of the dead husband (through his diary and short stories), and of the investigating wife is another great dramatic opportunity. As a writer-director, I am really interested in good stories, in character development, and in moral victory (or sometime: defeat) - this has them all. This is not just one emotional roller-coaster ride - it is a whole theme park…

TFL PROGRAMME:
ScriptLab 2009
Discover more details here:
Download
PDF
TFL Catalogue 2009

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