A halál és a Leiter-lányka
Death and the Leiter Maiden

Summary/Abstract: This article examines how the newly invented aesthetic form of Son of Saul (2015) returns relevantly in László Nemes Jeles’s second feature film, Sunset (2018). It assumes that the deconstruction of the totalizing representational method, which suggests the possibility of objective (historical) recognition, makes a unique sense in the story of Írisz Leiter and the dying Monarchy, unfolding the original invention. The subversive performances of Írisz, which divert the conventional gender roles, her autobiographical efforts, which are fragmentary because of her incomplete, traumatic life story, create this time – after the film of invisibility – the film of unreadability.

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