Tamás Babos

Tamás Babos, straight outta Budapest, 1968—guy's got film running through his veins. Seriously, you look at his work and there’s that gritty, honest Hungarian vibe, but he’s not afraid to get a little weird with it either. He’s probably best known for Nyugalom, which, if you’ve seen it, you already know it’s not your average cinematic stroll. The man’s got a knack for turning everyday moments into something you can’t look away from, even when it gets uncomfortable. And it does. Paszport? That one’s a trip. Babos isn’t afraid to poke at the big stuff—identity, where you fit, the messiness of crossing borders, literally and not. It’s personal, but not in a navel-gazing way—he manages to make you care about the characters, even when you kind of want to shake them. Visually, you can spot his style a mile away. There’s something raw, a little off-kilter, but it works. Then there’s Béke - A nemzetek felett, which came out way more recently. He’s older, maybe a little more reflective, but not mellowed out. The film’s got this vibe of searching for peace, but it’s not naive—Babos knows peace isn’t just some fluffy idea. It's got tension, real stakes, and he’s not afraid to leave you with more questions than answers. That’s Babos for you: always digging, never just coasting.