It was the last century’s impossible dream: a double vanguard, radical form in the service of radical content. There were moments-the Soviet silent cinema, Brecht’s epic theater, Surrealism perhaps, the Popular Front anti-fascism of Guernica and Citizen Kane, the promise of underground movies. And then, from the very back of beyond and close to the fashionable heart of international modernism, for a half dozen years from the mid-Sixties to the early Seventies, there was Hungarian filmmaker Miklós Jancsó. Read more…