........................................................................................... „.....Central Eastern Europe's Festival of First Films held in Pécs for the fourth time, ...starts to remind us of a real film festival...three international jury members, celebrities from home and abroad, finally a lavish informational series, music program and the attractive catalogue both put together by Jeno Hártyandi from Mediawave...seems to be the winner amongst other young Hungarian festivals. In comparison with other regional festivals (Sarajevo, Weisbaden, Cottbus) which have wider profiles, this one is expressly for starting-out filmmakers.... ...four of us were sitting in the pub....'young people drunk, getting high, one or two of them bleeding'...says one jury member. 'Which film did you see that in?'- I ask. 'All of them' – he says. And he's almost right. ..... The films are morose and gloomy; why wouldn't they be?: of 12 films in competition, four came from former Yugoslavia... but mainly depression and disappointment radiates from the Polish, Czeh, Slovak, Ukranian works too, even when steeped in humour.....” „...after the awards ceremony, we turned our attention to the Urania Cinema in Budapest , because Moveast jury member Fred Kelemen's retrospective began there the next day. Here if we know of Fred Kelemen at all, we know him for his high quality photography in THE MAN FROM LONDON , but not as many people know, that he is one of the most exciting German directors of the turn of the century. The substance of his films, the medium, the world of the characters, the degenerate pubs on the edge of the city, the drug addicts, alcoholics, itinerant workers, prostitutes, the melodramatic tone remind us of Fassbinder, but the style, the long takes, from time to time (often) of Tarr, or at times (less often, mainly in the black and white KRISANA) Kaurismäki. These are noble masters and under their influence a stiffling, suggestive, unique style takes shape - which is Fred Kelemen's, no one else's, and no matter which of his films we see (for me, the three and a half hour FROST, counts the most), it is unquestionably recognizable within three minutes.”György Baron - Élet és Irodalom, Budapest, 2008 October 17
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