The renowned anarchist teacher Count Ervin Batthyány reappears 100 years after his death. He tries to put his theories into practice again, as he realises that the world has not turned out as he had expected. He founds a new free school with the help of some like-minded people, and starts teaching a new generation who believe in solidarity and cooperation, rather than a system of oppression. But the ideal of freedom and equality awakens the same fears in the choreographers of power as it did 100 years ago. And after an encouraging start the count and his new friends come up against more and more obstacles.

The renowned anarchist teacher Count Ervin Batthyány reappears 100 years after his death. He tries to put his theories into practice again, as he realises that the world has not turned out as he had expected. He founds a new free school with the help of some like-minded people, and starts teaching a new generation who believe in solidarity and cooperation, rather than a system of oppression. But the ideal of freedom and equality awakens the same fears in the choreographers of power as it did 100 years ago. And after an encouraging start the count and his new friends come up against more and more obstacles.

The Buharovs, as the harbingers of a supra-human world, blend their instinctive cosmos with a kind of quiet poetry to lead the viewer into the Land of Warm Waters and onwards to new dimensions of storytelling.

The Buharovs, as the harbingers of a supra-human world, blend their instinctive cosmos with a kind of quiet poetry to lead the viewer into the Land of Warm Waters and onwards to new dimensions of storytelling.

White-clad figures in gas masks appear from time to time. They are the Program group. It is presumably the behaviour of these characters - the population - who appear in each other's strange dreams that has triggered the desire of businessmen and politicians to call in foreign help to restore order. They have come with unknown aims, and are doing their work in terror. The film is a chain of surreal dreams, yet the feeling is familiar. We are home.

White-clad figures in gas masks appear from time to time. They are the Program group. It is presumably the behaviour of these characters - the population - who appear in each other's strange dreams that has triggered the desire of businessmen and politicians to call in foreign help to restore order. They have come with unknown aims, and are doing their work in terror. The film is a chain of surreal dreams, yet the feeling is familiar. We are home.

White-clad figures in gas masks appear from time to time. They are the Program group. It is presumably the behaviour of these characters - the population - who appear in each other's strange dreams that has triggered the desire of businessmen and politicians to call in foreign help to restore order. They have come with unknown aims, and are doing their work in terror. The film is a chain of surreal dreams, yet the feeling is familiar. We are home.

The 40 Labor [the manufacturer firm] as a faithful conservative reaches back – his generation only – to the tradition looking like the lost one. To the twentyfold years’ avantgarde, the ones of sixty filmlanguage-his narration revolution, to the seventy ones’ experimentation. And to the postmodern one which recalling was kept always, for which all this fits shakily under the world’s big umbrella, ( everything else – and the contrary of everything – too). Buharov brothers strong and effective pictures are dreamed onto the linen, their work lasts caught if we understand nothing from him. We do not recognise their world’s rules, we feel it though these rules his strength.

Oneheadword Protection uses stop-motion animation techniques throughout, irrespective of whether a scene features objects, cardboard cut-outs or human bodies. This gives the film a febrile, panicky rhythm. An all-important sense of play and dressing-up runs throughout, yet the energies this 'playing' unleash are far from innocuous. (Re:Voir)