8th Hungarian Film Festival of Los Angeles October 15 - 23 2008 This year's theme is "Hungarians in Hollywood"
Opium - Diary of a Madwoman (Ópium - Egy elmebeteg nő naplója) János Szász (2007, feature film, 35mm, colour, 108 min.)
Director: János Szász Based on Géza Csáth Screenplay: János Szász, András Szekér Photography: Tibor Máthé Editor: Anna Kornis Set design: Tibor Lázár Costumes: János Breckl Sound: István Sipos, Manuel Laval, Matthias Schwab Production company: Hunnia Film Studio, EuroArts Production manager: Zsolt Valkony Producer: Pál Sándor, András Hámori Cast: Ulrich Thomsen, Kirsti Stubo, Zsolt László, Enikő Börcsök, Gyöngyvér Bognár, Roland Rába, László Kassai, Zoltán Szőllősi, Géza Szöllősi, Ákos Horváth
Seeking refuge morphine addict, decadent Dr. Jozsef Brenner arrives to a remote institution for disturbed women. One patient quickly attracts his attention. Gizella Klein is convinced a devil wants to consume her: "The evil one is constantly rummaging around in me," she writes. In fact, she's filled dozens of thick diaries and much of the available wall space in her room with such florid, frenzied ramblings about possession and control; though professional, Brenner's admiration for her profligacy soon curdles into jealousy and lust. Their forbidden attraction finally consummated in a strenuous act of passion, the remorseful yet ruthless Brenner figures out a way to simultaneously ease Gizella's pain while revitalizing his writing career.
Prizes: Porto FANTASPORTO 2008: Best Feature Film's Manoel de Oliveira Award,
Best Actress: Kirsti Stubo
Budapest Hungarian Film Week 2007: Best Director: János Szász,
Best Cinematography: Tibor Máthé,
Best Sound: István Sipos, Manuel Laval, Matthias Schwab,
Gene Moskowitz Prize
Moscow International Film Festival 2007: Best Actress: Kirsti Stubo
Hungarian Film Festival L.A.: Don't Read My Lips Dreadful dubbing aside, strong films shine By Robert Koehler Published on October 16, 2008 For even greater intensity, try Opium: Diary of a Madwoman, which features the stunning and virtually unknown Norwegian actor Kirsti Stubø in a performance that can only be compared to Maria Falconetti in Dreyer’s The Passion of Joan of Arc. The only shame in this extreme study of creative madness and primitive science is that Stubø and co-star Ulrich Thomsen (perhaps Europe’s most consistently brilliant film star) are dubbed into Hungarian.