Adoção

A single woman turned 40 wants a baby but has nobody to give her one. Her instincts displaced, she befriends a tearaway girl from a young offender's institution. The two women, each at a watershed in their lives, draw something from each other without being able to relate to each other properly.

It has an ungainly, unstructured feel to it – more sentiment than substance - like a day imperfectly remembered, which amounts to a startling, artless realism. The smudgy black and white Hungarian landscape and sparse dialogue are forefunners of Tarr's, and there are some nicely observed characters. Women will connect with Meszaros' worldview: life as a forlorn struggle to be as benign as one might want to be, but inevitably held back by the sheer dourness of the world. So we make do with what we have and hope that things occasionally work out, as they do here. Winner of the Golden Bear.

"Remarkably, she doesn't opt for a radical strategy to tackle the sexism issue head on, Kata, through Berek's sterling interpretation, who particularly resembles Helen Mirren but foregrounds her steely fortitude, unalloyed emotion to the fore with flying colors, is not designed to be a crusader, no banner is brandished, no rousing speech is required, she is a feminist fighter in the most pragmatical way, do the right thing within her capacity, she sees the problems (whether it is in the self-seeking Jóska or the national institution), but realistically, she is not in the right position to challenge the status quo, in lieu, she smartly capitalizes on her savoir-faire to get things undone, actions are louder than words, Kata is a heroine that we can all emulate."

read my full review on my blog: cinema omnivore

Marta Meszaros brings a subtle, yet effective critique of both communist Hungary and the patriarchal system that existed there in the mid 1970s. This film does move slowly, but that is part of what makes it great. It is shot in the social realism style. This means that there are long drawn-out shots, often with little dialogue. Slow camera movements are also a hallmark of this style. Since Adoption was made well outside of the Hollywood system, it does not adhere to the conventions that many American moviegoers would expect. If action-adventure is your kind of movie, skip this one. If, however, you are intrigued by a well told story pertaining to everyday life, this film is worth checking out.

Based on the first 30 min, which was all I could take, this film, consisting mostly of chain smoking Hungarians earnestly and humorlessly conversing about motherhood and adoption, seems designed to repel viewers. C minus.

One of the great films about women made by a woman, Marta Meszaros' "Adoption" is about the most fundamental need of many women, to be a mother. Kata is a 43 year old widow, living alone but having an affair with a married man who is not prepared to leave his wife. One day she asks him to father a child with her, which she will raise alone, but he refuses. Then she meets Anna, a young girl from the local boarding school, who asks Kata if she can use her house to meet her boyfriend. A friendship develops between them that might lead to all their problems being solved.

Meszaros shoots her film mostly in close-ups as if by focusing on these faces we are also getting inside their heads. It's an unusual treatment of an unusual subject, one that in an American film would have been sentimentalised out of all proportion. As Kata, Katalin Berek is extraordinarily good and the director, one-time wife of Miklos Jansco, never deviates from the intensity of her subject, making this a deeply moving film. Not much seen these days, this remains a key film of the seventies.