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Márta Vizy (Natasa Stork) is a 39-year-old Hungarian neurosurgeon. After 20 years in the United States, she returns to Budapest for a romantic rendezvous at the Liberty Bridge with János (Viktor Bodó), a fellow doctor she met at a conference in New Jersey. Márta waits in vain, while the love of her life is nowhere to be seen. When she finally tracks him down, the bewildered man claims the two have never met.
It’s unclear whether Márta’s wits are clouded by love or if other neurological reactions are at play. Determined to solve the enigma, Márta takes a position at a hospital where, due to both her unfamiliarity with the local culture and her exceptional talent, she is an outsider. With graceful determination, she endures real and perceived slights while navigating the no man’s land separating love from madness. Like Madeleine in Hitchcock’s VERTIGO, Adèle H. in Truffaut’s THE STORY OF ADELE H, or Julie, Dominique, and Valentine, the women of Krzysztof Kieślowski’s THREE COLORS trilogy, Márta is a strong yet vulnerable force who anchors herself in her feelings when faced with uncertainty.
In her second feature, writer-director Lili Horvát spins a delicate web of contrasts and silent explosions that shift the viewer’s understanding. Shot with impeccable symmetry on entrancing 35mm, it is an Orphic tale reminding us that, while the heart is an abstruse trickster, the human brain — ruling us with over 80 billion interconnected neurons — is our most complex organ. (Synopsis excerpted from the Toronto International Film Festival)
“A slinky noir-inflected melodrama following a brilliant brain surgeon who fears her own brain may be tricking her into romantic delusion.” —Jessica Kiang, Variety “[A] state of existential crisis, one that director Lili Horvát teases with curiosity and ambiguity, as if Krzysztof Kieslowski were alive and well and making movies in Budapest.” —Barry Hertz, Globe and Mail “Lili Horvát grants her protagonist the right to her unusual circumstances and allows her the dignity of figuring it out herself. It aggressively rejects generic norms and expectations and is all the more enigmatic and authentic for it.” —Alexandra Heller-Nicholas, Alliance of Women Film Journalists
