Budapest, Hungary – Filmmaker Dorka Vermes, fresh off her debut feature “Árni,” a film that snagged a Queer Lion Award nomination at the 2023 Venice Film Festival, is gearing up for her next project. Titled “Places Half Empty,” the film promises a controversial and intimate look at a queer relationship unfolding against the backdrop of Viktor Orbán’s Hungary. This week, the project earned the Eurimages Co-Production Development Award at the Sarajevo Film Festival’s CineLink industry strand.
The story centers on Noá, a thirtysomething struggling to make ends meet as an unlicensed cab driver. Her life takes a turn when she picks up Juli, a young woman from a wealthy suburban background desperate to escape her overbearing family.
Their connection quickly sparks into love, but their romance faces significant hurdles. Financial strain, societal pressures, and the suffocating expectations of Juli’s family create a complex web that challenges their relationship. At its core, “Places Half Empty” explores the universal struggle of finding one’s footing in a society that offers little room for those who dare to be different.
Speaking from Sarajevo, Vermes described the film as a “close-up of an intimate relationship.” Her inspiration draws from personal experiences and a keen interest in “the subtle, everyday gestures that normalize exclusion.”
“The Hungarian context is not just a backdrop, but a structuring force: shaping choices, movement, speech,” Vermes explained. She emphasized, “This is not a film ‘about queerness,’ but an inquiry into how space and politics shape the very conditions of love.”
The film is directed by Vermes and penned by Sára Törley-Havas. Production is handled by Evelyn Balogh and Botond Lelkes of Budapest-based Non Lieu Film Productions. Lelkes, who founded the company in 2022, explained that the name “Non Lieu” — French for “non-place” — reflects the “in-between” and “non-existent” spaces where Hungarian filmmakers find themselves working today.
Lelkes established Non Lieu Film Productions after the Hungarian government’s controversial decision to place control of the University of Theater and Film Arts (SZFE) in Budapest into the hands of Orbán loyalists. This move ignited a protest movement among young artists and filmmakers determined to preserve the institution’s legacy. “They wanted to continue the values and the legacy of the old institution,” Balogh noted.
Both Lelkes and Vermes were students who actively participated in the occupation of university buildings and resistance to the government takeover. This activism led to the formation of the FreeSZFE Society, an organization dedicated to supporting artistic freedom in an increasingly restrictive environment. The FreeSZFE Society was the initial funding body for “Places Half Empty,” which the filmmakers aim to finance independently.
This independent approach mirrors a growing trend in Hungary. Critics suggest that the Orbán regime’s influence has impacted funding decisions at the state-backed National Film Institute, which traditionally supports the local industry. Films like Gábor Reisz’s “Explanation for Everything” and Bálint Szimler’s “Lesson Learned” have gained festival recognition despite bypassing government funding.
Balogh attributes this resurgence of Hungarian cinema to the resilience of filmmakers who refuse to be deterred by funding challenges. “The destruction of the institution and its values created such a void that the people who were there at the time felt the need to [respond],” she said. “To stick together, create, think outside the box, try to find other ways [to make movies].”
While the political climate is a significant factor, Lelkes insists “Places Half Empty” transcends being solely about Hungary’s struggles. He describes it as an “absurd melodrama” filled with “interesting” characters and quirky details, such as Juli’s family breeding chihuahuas. Béla Tarr, Vermes’ mentor and creative producer on “Árni,” will reunite with her as executive producer for this project.
The presentation at Sarajevo’s CineLink Industry Days marked the first industry showcase for “Places Half Empty.” Balogh viewed the event as a triumph, especially given the success of their debut film.
“We had a great chance to connect with producers, sales agents and all kinds of industry professionals who were interested in our story and wanted to help us try to untangle this situation that we are in,” she shared. Despite the obstacles, she added, Hungarian filmmakers want the world to know: “We are here.”
The Sarajevo Film Festival runs from Aug. 15 to Aug. 22.
