György Szomjas’s first feature—made after a decade of short documentaries—is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with image of a lone horseman on the empty plain, riding past a rude gallows. The film concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers and hardbitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films)—a feast of loamy, autumnal colors.

1852. Gáspár Noszlopy escapes from prison in order to capture the emperor, who is to visit Hungary, with his companions and force him to sign the Declaration of Independence. He is only able to find four fanatic men, as his one-time soldiers have already accepted the established order as unalterable, each of them having found a satisfactory way of life and unwilling to undertake a suicidal experiment.

A former history teacher, currently a house painter is broke before the New Year. Faith meets him with the rich man, who wants his living room to be painted by 4 o'clock for a hefty pay. The father and his six children begin the heavy task with a song. When all is done, the rich man calls that he is going to pay the house painter on the 2nd of January. The father decides to celebrate New Year no matter what.

Juli, who works in a brick factory, begins a romantic relationship with her boss, to whom she hides the fact that she has a son.