1979. Gábor H. works in a law enforcement institution. He robs a bank branch, gets into jail. 1989. Gábor H. and the similarly unemployed Sanyi want to get money by robbing.

Margó and Ildi are good friends. Margó lives with her simple, conservative parents, her fiancé is a roadie, her lover has been in prison for two years. Ildi was a pupil of a reformatory school, she buried an Araba husband already and her Rumanian partner is living in Paris. She lives together with a Yugoslavian man in a rented flat. Both are models at the Scholl for Fine Arts, attend an evening school and earn their money by selling their bodies. The lover of Margó, Attila is suddenly released. Margó and Ildi want to get rid of him, but Attila does not let them do that...

Paul Bogár is released after a year in custody on suspicion of burglary - due to lack of evidence. The man seems to accept society's declared norms, taking a hard physical job in a factory. In his spare time, however, he resumes burglarising houses, carefully and without a trace. He gives the money and the gold he gets to his sister and her family. Although he always works alone, he takes his helpless brother-in-law with him as a driver. Beetle's principle: they too have the right to a good life, and it is impossible to provide it through work. However, a rival gang takes advantage of his brother-in-law to trap him...

The film is composed around a violent incident, happened in 1956. Upon hearing the news that the Russians were approaching, the dwellers of the Home for the Disabled armed themselves. Followed by stares by people living in the area they marched along Hermina road, or went in wheelchairs, on crutches, hobbling, dragging rifles and a heavy machine-gun...

2003 film

Nina loves to make up stories, she wants to become a writer. Though she has her creative talent from her filmmaker father, there’s just one problem: Her clumsy magician brother Junior is bored of her stories. And since her mother died early, it’s difficult for Nina when a new love comes into her dad’s life. With the guidance of a bohemian writer next door, Nina uses writing to process the loss of her mother and open her heart to a new family member and first love. And suddenly, Nina realizes, her life is becoming a novel!

2007 film

television series

It is 1989, the year of the demise of socialism in eastern Europe. Nevertheless, the one theme of Junk Movie does not refer to this historical moment of high ideals, quite the contrary, the wild, burlesque of a motif-mozaic seems merely to stick it’s tongue out at the arrogant players of politics who have their heads stuck in the clouds. The film rudely points out the mystery and unapproachability surrounding the every-day existence of politics. The scene is a greasy, falling-down block of a pub called the Gólya and its immediate surroundings.

A coming of age story, in flashback, of a group of high school students graduating in 2011. Each will take a different path from here on.

2006 film by Bence Gyöngyössy

After they got imprisoned, small-time criminals Kuplung and Csumpi tell their stories to their cell-mate of how they have planned the most imperfect robbery. Their big idea was to rob the Money-liquidation Warehouse. The movie shows how they fielded a team to execute the robbing and how everything went wrong.

By the notes of Fiáth Pompeiusz, the one-time friend of Kapa and Pepe, Professor Szirtes has solved the secret of the time machine, and he realizes the invention relying on "special" H2O. Kapa and Pepe shall return by it into the past in order to set time right, which is out of joint, that is, to correct history, to save King Louis II, and prevent the Mohács Disaster. Pepe yields to the not too tender persuasion to enter upon the great journey through time, dies and revives, and they arrive at the battlefield of Mohács in time. Kapa films the events. The Turks win and cut off the king’s, Pepe’s, head, still the Hungarians dictate the peace treaty. Kapa and Pepe want to return, they fill the time machine up with water from the well, yet it won’t start. Even so Kapa and Pepe hover over Budapest and quarrel.

This time, Kapa and Pepe are first of all prisoners of war – and convicts taken to forced labor service, Jews, Hungarian soldiers, German soldiers. Once they are to be executed, then again they are to perform executions. The film tells in spectacular episodes about the fact that in the past more than one century and a half we kept marching from war to war; occupation and liberation turned out to be indifferent, and why couldn’t the Jews execute the SS-guys? Our heroes hover about dilapidated barracks, then again on the bridges of the capital they guess whose satellites or eternal friends for all times we might be just now. In the cupboard, among the preserved fruit bottles, Stalin is still hiding. The authors of the film are cited before court, then in a showcase hospital they are waiting for the end to come. A Soviet soldier-maid closes the film with a Péter Nádas-quote.

Kapa, Pepe and Mesi would like to buy a scrapyard of trains, to start a nostalgia train and earn a lot of money. The capital to start with they want to get from grandpa, who has come home from America with a suitcase full of money. Everybody wants Mesi to approach the old man, because she is the only one he would speak to. But Mesi is more concerned with the idea that she wants a child, by now from anyone, while Pepe is jealous. Kapa’s alleged son emerges, with the mafia behind him: they, too, are eager to get grandpa’s money. After threats and blackmailing, poisoned apples are sent, with only one side of them poisonous. Those dead, by the way, are resurrected by the sound of a song. At last, nobody manages to get the money, but it wouldn’t make sense anyway: it’s all fake. The Statue of Liberty, however, turns out to be blind.

Two physically handicapped youngsters make friends with a paralysed hitman and are commissioned by a local mafia boss. They have little to lose although things are never as they first appear. The boundaries between fantasy and reality blur as the unlikely heroes stumble from one close encounter to the next and we gain an unusual insight into their lives on the periphery of society.

In the Kerepesi Street cemetery, three grave diggers contemplate the fate of the world, then they step out of this role and in a sequence of episodes they play the typical figures of contemporary Hungarian reality, the fat cat, the swashbuckler, the victim, underworld chieftains, and present little absurd dramas of love, marriage, friendship, public order and legal safety. The author and the film director walk among them all the time, contemplating, laughing at their plays. The stories starting from the graveyard and returning there warn of the inevitability of death. The author and the director (Gyula Hernádi and Miklós Jancsó) wisely make friends with death.

A young refugee, Aryan, is shot while illegally trying to cross the Hungarian border. While tending him back to health, a doctor at a refugee camp discovers that Aryan has gained an extraordinary talent—he can levitate. Aryan is smuggled out by the doctor, who is intent on exploiting his secret.