Felix, a high rescue specialist, brings down suiciders from bridges in a city in crisis. His son, who secretly makes videos of dangerous rescues and sells them to TV, blames his father for the loss of his mother. As Felix tries to reconnect with his son and help people at any cost, dramatic events unfold.

Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away...

A subway enforcement officer working in the oppressively gray Budapest metro gets a chance at love — but first he needs to find out why passengers are jumping — or being pushed — to their deaths onto the tracks.

Narcisus and Psyche is based on a novel by Sandor Weores which was adapted by Vilmos Csaplar and director Gabor Body for a feature-length film. Borrowing the character of Psyche from mythology and placing her in Europe in the 19th century, the authors give her a "modern" life. She is an attractive young woman - and remains so throughout the film, in spite of one hardship after another. Psyche is libidinous, and her prurient interests shock her staid contemporaries.

Concerning the Mátyás era in Hungarian history, during the reign of Matthias Corvinus (1443–1490), the film focuses on three eras of the king's life: the young Mátyás fights for the throne, the older Mátyás as king, and the fate of the royal crown and the royal heir after his death.

1629, Transylvania: Reigning prince Bethlen Gábor has Don Diego, the Spanish chronicle knight be brought to his court in order to make him record his life and deeds for posterity.

Anyegin arrives home in an abandoned castle for his uncle's funeral. He is a misanthropic, tired, cynical man who has seen it all, tried it all and is tired of what others - including his young neighbour, Lensky - consider the meaning of his life. At Lensky's invitation, he visits the Larin's estate, where he meets Tatiana, a young girl under the spell of books and a fan. Tatiana falls in love with Anegin and confesses her feelings in a letter...

The Witness (Hungarian: A tanú, also known as Without A Trace), is a 1969 Hungarian satire film, directed by Péter Bacsó. The film was created in a tense political climate at a time when talking about the 1950s and the 1956 Revolution was still taboo. Although it was financed and allowed to be made by the communist authorities, it was subsequently banned from release. As a result of its screening in foreign countries, the communist authorities eventually relented and allowed it to be released in Hungary. It was screened at the 1981 Cannes Film Festival in the Un Certain Regard section.[1] A sequel was made in 1994 named "Megint tanú" (English: Witness Again).

It has been fifteen years since the death of her father, Agamemnon, and Elektra still burns with hatred for Aegisztosz, who conspired with Elektra's mother to kill him.

On 6 December, Misu is hired as a Santa Claus advertiser for a department store. On that same winter day, Liza runs away from the orphanage because once upon a time, her mum promised her that when she turned 8, she would get a bicycle from Santa Claus. Liza unexpectedly walks up to Misu and asks for the bike. But Misu, the selfish bar pianist, has no intention of buying a bike, and Liza won't let him go until he gets his wish.