Teströl és lélekröl
DIRECTED BY: Ildikó Enyedi
FEATURING: Alexandra Borbély, Géza Morcsányi
PLOT: A slaughterhouse manager and the new quality assurance inspector, a functional autistic savant woman, pursue a relationship after realizing they share the same dream (literally).
WHY IT WON’T MAKE THE LIST: The “shared dream” conceit, the film’s only truly weird feature, serves little more than as a plot device to bring the unlikely lovers together.
COMMENTS: On Body and Soul begins with intimate footage of two deer tromping through a snowy woods by a lake. The buck tries to nuzzle the doe, but gets little response, as she meanders away searching for a tuft of grass. This opening segues into scenes of unsuspecting cattle at an abattoir being led to the killing floor. We then meet the new temporary meat quality inspector, Maria, a stand-offish but pretty blonde. She soon causes trouble by grading every side of beef a “B,” because they are two to three millimeters fattier than regulations—technically correct, by the book, but also not what financial manager Endre wants to hear. Maria also has great difficulty choosing a place to sit in the cafeteria for lunch, searching out the loneliest corner, and when Endre tries to talk to her, their conversation is awkward and strange. At home at night, Maria arranges salt and pepper shakers on her kitchen counter and recreates the day’s conversations, puzzling out their social significance. She’s definitely not neurotypical.
The true plot is set it motion when, through an absurd contrivance (the theft of bull aphrodisiacs from the slaughterhouse), an outside psychiatrist is brought in, analyzes the workers’ dreams as part of her profiling, and discovers, to her disbelief, that Endre and Maria share the exact same dream night after night, of two deer in a snowy glade. Other than the romantic notion of two souls linked by fate and the thematic connection to the apparently thin line between bodied beasts and soulful people, the happenings in the dream glade don’t intrude on the rest of the story, and are soon laid aside. Instead, Maria, conflicted by feelings for Endre she doesn’t understand, sets out on an often-humorous journey to expand her experience of life beyond the narrow focus of her own mind. She observes lovers spooning at the park as if she were studying mating rituals at a zoo. She tries to understand the appeal of music (eventually finding a single song she likes) before connecting with her own body by discovering the pleasure of lying in the grass while a sprinkler waters her. Simple Endrem, who has a womanizing past, can’t figure this strange woman out, and tries several times to end the burgeoning relationship, despite their uncanny dream connection.
The attraction here is Alexandra Borbély‘s fascinating portrayal of Maria. She makes expressionlessness an art form while portraying a character type who is seldom, if ever, seen on screen—and if so, never in the role of a romantic lead. The philosophical implications never get too deep, and the film may overlong for its slim storyline, but those looking for an offbeat (if not weird) arthouse romance should find this a tasty cup of meat.
The producers of On Body and Soul signed an exclusive contract to stream the film on Netflix, so it won’t be available on home video or other platforms for the foreseeable future.
WHAT THE CRITICS SAY:
“…its unwatchably brutal opening sequences are there to stun you, or in the butcher’s sense tenderise you, so that you hardly notice the implausible weirdness of human behaviour in the workplace scenes that follow… Endre and Maria’s affair is at its most romantic when it is at its most eccentric and weird.”–Peter Bradshaw, The Guardian (contemporaneous)