Previous reviews have failed to take account of this film's "Sitz im Leben"-- the current situation in Hungary, where the Fidesz government under Orbán Viktor has played footsie with the broad swath of irredentist voters who continue to harbor anti-Semitic leanings. Hungary has not yet come to terms with its role in the murder of its Jewish citizens. For example, the recently erected monument to Victims of Nazi Aggression portrays Hungary as a Victim State, not as a willing cooperator in the execution of roughly 5% of the national population. But it was Hungarian officials that carried out the orders, not Germans. Hungarian officialdom and non-officialdom was more than willing to participate in the Holocaust, but they are loath to acknowledge any corporate responsibility.

A personal but illustrative anecdote. About seven years ago I was teaching at a gimnázium in a town not far from Budaptest and went to see the movie "Avatar" at a local theater over a weekend. The next Monday, as part of English conversation class, I told my students what I had done, that I had gone to thus and such theater to see the movie. The immediate response to my statement came from a student whom I had come to know as a pretty bright kid who was eager to learn. He said, "Oh yes, Jews own that theater."

Where the f*** did that come from? Over the past few years I have realized that it comes from the same deep-rooted inability of Hungarians to understand that their loss of territory after WWI and their continuing economic problems come not from their "enemies" (Jews above all, but Gypsies too) but from themselves and the same culture of self-deception and corruption that is depicted in this film.

Which film, by the way, is elegantly framed and carefully composed, is presented with almost stately precision, and which I highly, highly recommend.

It reminds me "The Visit of Old Lady" by Friedrich Durrenmatt. it reminds the Old Greak tragedies. in special sense. in specific manner. two Jews in a Hungarian village. two hutches. a way. a wedding. memories about dark past. and everything becomes different.

for me, a masterpiece. for the clash between minimalism of the presence of the two strangers and the community storm. for the performances. and impecable craft of story. but, more important, for the status of near story. from the past of grandparents of Central Europe. for the force of cinema to give a sort of social exorcisation. for the art to give the realistic portrait of a world. for define the sin. and the choices behind the deep fears. a film about hidden demons. memories. papers. ambitions of actuary. answer of a husband. indifference of a priest. decision of a son. and the train. in the station of a village.

At the first sigh, a film for Central European public. because it presents realities who are told by grandparents to nephews. in same measure, a parable. about fear, shadows of past, reactions to a challenge. the basic virtue - its minimalism. two strangers, with two boxes, in a Hungarian village station. preparations for a wedding. and the presence of strangers as basic menace. the tension. and the reactions. all seems perfect, from photography to the performances. but the great good point is the clash between minimalism and the chain of details from the circle around the mayor. result - a masterpiece. not only for artistic motifs. but for the admirable way to translate the essence of a world in clear manner.