P:O.V. No.5 - Wind: film data


Marcell Iványi
(Hungary, 1996), 6 minutes, 35 mm, b/w

Production credits

Director and script
Director of photography
Sound engineer
Assistant director
Dolly grips
Lab technician
Technical coordinator
Camera assistant
Production company

Marcell Iványi
Zsolt Haraszti
Peter Connelly
Imre Juhász
István Sánta, József Szücs, Gyula Peterdi
Tamásné Deimanik
György Kivés
Ádám Kliegl
Péter Kincs
Pioneer Productions
György Durst
Duna Mühely

Awards won for Wind include

Palme d'Or for Best Short Film, Cannes 1996

Marcell Iványi

Born in Budapest in 1973, Marcell Iványi attended an acting school and played in a private theatre, during his early teenage years. The year he graduated from secondary school, he worked for Hungarian television as a moderator and reporter in a program for young people. That was when he became interested in film. He studied under Gyula Gazdag, János Xantus, Pál Zolnay and János Herskó at the Academy of Theatre and Film Art, where he made three short films and one video-documentary. He made Wind when he was a fourth year student, but outside the Academy.


1. As director of short fiction films

1991: Budapest, Death of a City
5 min.
1992: Birth of a Ship,
5 min.
Zoli and Jenci,
27 min.
1993: Golden Age Restaurant,
10 min.
1994: Black and White,
18 min.
Childish Games,
24 min.
1995: Last Round,
16 min.
1996: Wind,
6 min.
1997: 33 Pictures
62 min.

2. As editor

1993: Anecdote,
dir. László Seregi jr., 5 min.
1995: The Fake Mantails
dir. Daniel Young, 81 min.
1996: One Night
dir. Andrea Weichinger, Nick Thorpe, 15 min.

Marcell Iványi on Wind

There is a point or detail in every photograph that attracts the eye. A special detail that stands apart, that stands out.

This detail will get an emotional charge and will influence the state of the observer.

This emotion leads the eye along within and even outside the photo.

It may be a hat thrown up in the background, a half of a face in the frame, a hand that squeezes something, smiling lips, or a dog staring intently into the camera.

This small image will only become dominant with all the other details in the big image, it will only represent the emotion that is capable of launching a story as a part of it.

Perhaps this is the way a still image will become a motion picture.

Wind was inspired by "Les trois femmes," a photograph by Lucien Hervé (Audincourt, France, 1951).