New Arrival Mikls Jancs Collection

Mikls Jancs Collection: The Round-Up, The Red and the White, The Confrontation, Winter Wind, Red Psalm, Electra, My Love

Screenwriter and director Mikls Jancs was the creator of a unique film language centered around his mastery of the tracking shot. The first internationally recognized representative of modern Hungarian filmmaking, his extraordinary works examined oppressive authority and the mechanics of power. Kino Lorber is proud to present six of his classic features restored in 4K from their original camera negatives by the National Film Institute Hungary Film Archive. The Round-Up (1966) depicts a prison camp in the aftermath of the 1848 Hungarian Revolution. A true classic of world cinema. The Red and the White (1967) is a haunting, powerful film about the absurdity and evil of war set in Central Russia during the Civil War of 1918. The Confrontation (1968) is a story of protest and rebellion set in 1947 Hungary, when the Communist Party has just taken power. Winter Wind (1969) consists of twelve fluid long takes that capture a mid-1930s group of Croatian anarchists. Red Psalm (1971) follows a group of farm workers who go on strike in 1890s Hungary, for which Jancs wont he best director prize at Cannes. Electra, My Love (1974) is a richly inventive adaptation of the Greek myth that consists of 12 single take, intricately choreographed set pieces.

Special Features: DISC 1: -THE ROUND-UP audio commentary by film historian Michael Brooke -Short films by Mikls Jancs: Red Indian Story (1961), Presence (1965), Second Presence (1978), Third Presence (1986)

DISC 2: -THE RED AND THE WHITE audio commentary by film historian Jonathan Owen -Short films by Mikls Jancs: Autumn in Badacsony (1954), Harvest in Oroshza (1953), With a Camera in Kostroma (1967)

DISC 3: -THE CONFRONTATION audio commentary by film historian Kat Ellinger -WINTER WIND audio commentary by film historian Samm Deighan

DISC 4: -RED PSALM audio commentary by film historian Kat Ellinger -ELECTRA, MY LOVE audio commentary by film historian Samm Deighan