Budapest’s vibrant Film Festival scene shines annually at the Friss Hús Film Festival, a celebration of Short Films and emerging talent. “Fresh Meat,” the English translation of “Friss Hús,” is more than just a name; it embodies the fresh perspectives and innovative storytelling showcased at this Budapest Film Festival. Screenings for this prominent Hungarian Film Festival took place in Budapest from May 29th to June 4th, 2025. Among the Award-winning Films in the Hungarian competition were both live-action and animated works. This Film Review examines the recurring themes found within the victors of the show. They all differ in genre and address various themes, but they share one thing in common: the authors’ attention to the body, through which, in both realistic and abstract forms, the internal conflicts of the characters are demonstrated.
The winner in the “Best Hungarian Live-Action Short Film” category at this year’s Short Film Festival was “Deadweight” (“Dögsúly”), directed by Bese Komáromy. Komáromy’s film is sure to garner Film Criticism among fans of Hungarian Cinema. The author draws upon “infernal feminism,” a trend in art researched by the historian of religion Per Faxneld. In his opinion, Lucifer appeared in 19th-century stories as a liberator of women, granting them the pleasure of freedom of expression. Bese Komáromy reveals a different side of a personality’s acquaintance with their “shadow side”: through the story of a girl in the 21st century, he shows the negative consequences that fleeting impulses can lead to.
“Deadweight” is a body horror film, almost more frightening than “The Substance.” The plot follows a protagonist who experiences serious mental problems and takes medication. Every evening, she puts on extravagant outfits, applies bright makeup, and finds a new boyfriend who dies immediately after intimacy with her. His body is devoured by a demonic monster, resembling a dog, a donkey, or a horse. The beast is the girl’s eternal companion, faithfully serving her. However, she just wants him to leave her alone.
Another film that explores psychological problems through the body is the animated film “Glasshouse” (Üvegház) by director Katalin Sárdi. The work received the main prize in the “Best Hungarian Animated Short Film” category at the Friss Hús Film Festival. The plot is extremely conventional. On the screen are three characters: a director and two actresses, who are filming themselves completely naked for the moment when money rains down on them. For the amusement of the public, the heroines turn their own bodies inside out, and then struggle to put themselves back together. The film visually expresses how a deal with one’s conscience, exploitation of the body, and its equation with an object destroy the personality. The film is resolved in a neon style – the space is artificial, the characters practically merge with it, which emphasizes the problematic nature of the film.
The animated film “The Last Drop” (“Az utolsó dobás”) by Anna Tükeš, which was noted by the jury, transports viewers to the everyday life of gymnasts aiming to win a competition. On the screen are athletes with cracking joints and their coach, who demands more and more commitment. Viewers see the performance of talented girls in sparkling costumes, who perform the program with smiles on their faces. However, behind the happy mask lies endless self-dissatisfaction and constant self-improvement.
The heroes of most of the Short Films at the Friss Hús Film Festival are young people experiencing their first personal crises. Young men and women are trying to understand what true friendship is, thinking about their future, and looking for true love. This reflects the festival’s commitment to showcasing Award-winning Films that resonate with contemporary audiences and provide insightful social commentary.
