Queer Love Confronts Oppression in Orbán’s Hungary: ‘Places Half Empty’ with Béla Tarr as EP!

Hungarian director Dorka Vermes, who gained recognition with her first film “Árni” at the 2023 Venice Film Festival where it was nominated for a Queer Lion Award, is currently working on her second project, “Places Half Empty.” This movie is expected to generate significant discussion as it delves into the complex dynamics of a queer relationship amid the political landscape of Viktor Orbán’s Hungary.

The project recently clinched the Eurimages Co-Production Development Award at the CineLink section of the Sarajevo Film Festival. It tells the story of Noá, a thirtysomething who makes a living as an unlicensed taxi driver. Her life takes a turn when she meets Juli, a young woman from the suburbs striving to escape her domineering family.

As Noá and Juli’s relationship deepens, they encounter numerous challenges, including financial difficulties and societal expectations, particularly from Juli’s overprotective family. “Places Half Empty” explores the struggle of establishing one’s identity in a society that is unforgiving towards non-conformity.

In a discussion with The Bangin Beats in Sarajevo, Vermes described the movie as a detailed exploration of a close-knit relationship, inspired by her personal experiences and an interest in the mundane actions that perpetuate exclusion.

Vermes emphasized that the setting of Hungary is integral, not just as a backdrop but as a critical element that influences the characters’ decisions and interactions. She clarified that the film examines not only the concept of queerness but also how politics and the environment influence fundamental aspects of love and relationships.

Co-written with Sára Törley-Havas and produced by Evelyn Balogh and Botond Lelkes under the banner of Non Lieu Film Productions, the film’s production company name, derived from the French term for “non-place,” symbolizes the current state of Hungarian cinema. Lelkes, who established the company in 2022, mentioned that the term reflects the ambiguous and often non-existent spaces Hungarian filmmakers find themselves in today.

Following the controversial transfer of control over the University of Theater and Film Arts in Budapest to allies of Orbán, Lelkes and other students protested by occupying university buildings. This resistance birthed the FreeSZFE Society, aimed at preserving artistic freedom, which also became the initial supporter for “Places Half Empty.”

This is reflective of a broader movement in Hungary where independent funding has become crucial, especially as the Orbán-led government’s influence looms over the National Film Institute. Despite these hurdles, films like Gábor Reisz’s “Explanation for Everything” and Bálint Szimler’s “Lesson Learned” have achieved international acclaim without state support.

Balogh speaks about the resilience and creativity of Hungarian filmmakers who are motivated to innovate and collaborate in the face of institutional and financial challenges. This drive stems from a collective desire to respond to the cultural and creative vacuum created by political interference in the arts.

Despite the politically charged environment, Lelkes describes “Places Half Empty” as transcending mere political commentary. He highlights its unique blend of melodrama and eccentric characters, including the quirky detail of Juli’s family business of breeding chihuahuas. Vermes is collaborating again with her mentor, Béla Tarr, who serves as executive producer after being the creative producer on her debut film.

The presentation of “Places Half Empty” at Sarajevo’s CineLink Industry Days marked its introduction to industry professionals, where it was well-received, according to Balogh. She expressed optimism about the connections made and the support garnered from industry insiders eager to navigate the complex situation Hungarian filmmakers face.

The Sarajevo Film Festival runs from August 15 to August 22.

Pictured (l. to r.): Dorka Vermes, Sára Törley-Havas, Botond Lelkes, Evelyn Balogh