Bence Fliegauf film “Just the Wind”, which won a Silver Bear at the 2012 Berlinale, currently runs since the 18th July of this year in German cinemas. The film explores the marginalization of Rroma by the Hungarian majority society, which in the case of the story – based on true events – led to the racist murder of several Rroma families. Rother (2013) of the FAZ interpreted the film as a plea for the right of existence of Rroma: “’Csak a szél’ is not the first film from Hungary, which deals with the fate of the Rroma or, as we say here, Cigány. While formerly the integration stood at the centre, as in one of the best known examples, in Pál Schiffer documentary movie “Gyuri Cseplö” from 1978, it seems the situation has gone so far now that movies have to defend the mere right of existence of these citizen.”
Assheuer (2013) interprets the film as an indictment of a latent state racism, which deems Rroma to be outside of the law and so they deliver into the hands of racist mobs. For these economically-racists arguments, Rroma are just useless bodies that do not contribute to the increase of national wealth: “The moment where the state singles Rroma out of the universe of civil rights, he declares them to be outlaws – he delivers them to the hatred of the society allows them to be shot as Misu, the errant pig, in the forest. […] Fascism therefore does not mean that the state built camps. It means that it takes the Rroma the right to have rights, and leaves them to the mob.”
Taszman (2013) emphasizes that the film became a political issue prior to its presentation at the Berlin Film Festival. The Hungarian Ministry of Public Administration and Justice, and the Secretariat of State for social integration issued a leaflet handed out to journalist, which represented the attitude of the Hungarian society and the Hungarian state towards Rroma as being open-minded. The letter repeatedly stressed the massive efforts of the Hungarian government made to successfully integrate Rroma.
Schnelle (2013) describes the film as an allegory about the omnipresent fear of something that is not visible. The invisible in this case is represented by the sudden arrival of the murderers, which, while the Rroma family indeed suspects will happen, cannot be articulated exactly. The father of the family now dwells in Canada, which one would like to follow on as soon as possible. Schnelle notes: “Fliegauf hardly tells of actual events. It is more of a film centred quite directly on fear. The family, threatened by racist terror and abandoned by a silent majority, is trying to survive the day after the last attack. And in the evening, as darkness falls over the village, one moves in bed together even more closely than usual.”
Krings (2013) describes the film as an oppressive portrait of repressed social reality: “Bence Fliegauf created a tremendously haunting film with “Just the Wind”, a laconic drama that accuses simply by showing a social reality that is often overlooked in Europe. Of course, such a film is no pleasure, though he builds tension like only a few thriller can. It is the cold power of horror. It is also about what Europe has to hide.”
Peitz (2013) sees the film as a portrait of people who were declared outlaws and must constantly reckon with death. In this “Tropic of Fear,” as it was called by the jury of the Berlinale, only extreme restraint and going for invisibility offers some protection: “[The film] is a snapshot from the lives of vulnerable people, almost unbearable du to fear. Bence Fliegauf glossed over nothing, many a Rrom in the film breaks his back with had work , some are just broken existences. But you can see the causes of the destruction, can feel the pogrom atmosphere with one’s hands. “There is no political film in Hungary, no more socially committed cinema” the director stated in a recent interview, self-critical of his own profession.”
Rebhandl (2013) emphasizes that the film genuinely shows the transition between nature and civilization, institutions, and vulnerability and tries to show, in which social atmosphere ideological murders can happen: “A few weeks ago, a news went through the press that the Hungarian case against four men who allegedly killed six Roma in 2008 and 2009 is not progressing. They are still sitting in custody and whether there will be a process is unclear. “Just the Wind” leads a compelling indictment in a process that goes far beyond juridical concerns.”
Sources:
- Assheuer, Thomas (2013) Und am Abend bist du tot. In: Die Zeit online vom 18.7.2013.
- Krings, Dorothee (2013) eklemmendes Roma-Drama “Just the Wind”. In: RP online vom 18.7.2013.
- Peitz, Christiane (2013) Menschenjagd als Spielfilmthema. In: Der Tagesspiegel online vom 17.7.2013.
- Rebhandl, Bert (2013) In der Hitze des Tages. In: TAZ online vom 18.7.2013.
- Rother, Hans-Jörg (2013) Der lange Lauf dieses Tages. In: Frankurter Allgemeine Zeitung online vom 18.7.2013.
- Schnelle, Josef (2013) Brillantes Gesellschaftsporträt: Benedek Fliegaufs Kinofilm “Just the Wind” über Roma in Ungarn. In: Deutschlandfunk online vom 18.7.2013.
- Taszman, Jörg (2013) Ungarns Angst vor der eigenen Realität. In: Die Welt online vom 18.7.2013.
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