Bálint Túri

Bálint Túri

Master of Film

In his films, Balint Mark Turi (Hungary, 1985) is interested in those in-between situations where characters can cross from one state of being to another through understanding and accepting their own personal traumas and thus their place in the world.

Previous education
BA Psychology (Peter Pazmany Catholic University, Piliscsaba, Hungary)
Screenwriting (Central European University, Budapest, Hungary)
Theater, Film and Media Studies (Universitat Wien, Vienna, Austria)
BFA Film and TV Directing (EICAR - The Intern. Film School of Paris, France)

Read more
- Interview with Balint Mark Turi: 'Development by digression'
- Master students Maria Ångerman, Luiza Faga, Gwen.n., Anca Oproiu, Jack Faber, Agnese Cornelio and Balint Mark Turi made the short film Revisit together with Artist in Residence Eyal Sivan.
- Inspired in Rotterdam: New Connections by Balint Mark Turi

No Place Like On The Road - writer, director

Learn to listen. Listen to learn.

The actor’s responsibility is to listen and react. The director’s
responsibility is to listen and guide.

Whatever happens in the rehearsal is relevant and telling.
Digressions reflect on the story.

A film is not a materialized vision of an omnipotent author.
Focus is on the (co-)creation, not on the author.

No script before rehearsals, but rehearsals before script.
The story is born out of the work.

No prefabricated, developed characters, but vague, open
characters to start with.

Let the actor get close to his character. Let the character
get close to his actor.

Character bleed, stirring, transference and countertransference
bring energy and truthfulness.

Playing is human.
Games are liberating.
Games are rituals.
Games are meant to assist change.

Stories are about change, either the possibility or the
impossibility of it. Change is possible only through reflection.

The only real important change is the internal human change.
Every other one is secondary.

Making a film is a movement, circling around the same
question on different levels. Films should leave time for both
maker and spectator to reflect.

A film should elicit a question in the spectator rather than
a definite answer. A question which can be related to the
spectator’s own life.

Other Projects

Selected works
- 'Anima Sound System' – 'Tedd a napfényt be a számba' (2011, music video)
10th International Super 8mm Festival, Szeged – in competition
VIDETT, Villafranca, Barcelona – part of Hungarian video works exhibition

- 'Tiki' (2010, BFA graduation film)
11th Immagina, Torino 2011 – special mention
Monfilmfest Casalborgone 2011 – in competition
International Student Film Festival Belgrade 2011 – in competition
42nd Hungarian Film Week, 2011 – in competition

- 'Pogatcha' (2009, short film)
selected for NISI MASA “Matter of Taste” screenings
BuSho – Budapest Shorts Film Festival 2009 – in competition
Cinefest International Film Festival Miskolc 2009 – in competition
Monfilmfest Casalborgone 2009 – in competition

- 'Deadman's Ravine' (2006, short film)
BuSho Budapest Shorts Film Festival 2006 – in competition

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