Deliver Us from Evil
- heavy
- intense
Heavy, steady, measured hungarian / drama, grounded in texture. Nihilistic, mid-stakes, measured, hand-scored across twelve axes of taste.
How every film is hand-scored →Winter of 1944, the last days of the war. When the roads and houses ceased to exist and the bottom of the cellars become filled with life, when fortunes were lost and countries burned up, her used coat was only important to Mama, the cloak-room servant of a local dance-school. Her son stole it to sell it for twenty pengő. He did it because Aranka Fussbaum's love cost money. There is no honour left in such a destroyed world. Yet still they start looking for that coat... (Elemér Ragályi won Best camera with this movie in Montreal, 1979, and in Budapest, 1980.)
Our read · Deliver Us from Evil (1979) reads as a heavy, steady, grounded hungarian · drama · war entry — measured in intensity, mid-stakes in scope, measured in temperature, nihilistic in outlook. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
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The shape of Deliver Us from Evil
What watching it is actually like.
“You want a Hungarian drama of poverty, theft, and lost honour in the last days of WWII.”
Skip it tonight — Skip if grim post-war Eastern European stories feel too bleak tonight.
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Closeness in the twelve-axis space — how the film actually reads, not “people also liked.”
Discussion
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