Hungary has produced an implausible number of directors the rest of cinema takes seriously, almost all of them working inside or against a state industry. Miklós Jancsó turned the Hungarian plain into a stage and filmed political violence in enormous unbroken takes; Béla Tarr pushed the take further and removed the politics, and the slow monochrome long shot is now what a Hungarian film means abroad. The state stopped paying for any of it around 1990 and started again in 2011, and the country's second Oscar arrived five years after that.