SINDBAD

From SINDBAD's very first moments, the viewer is intrigued by the persistent throb of memory as Sindbad drifts back through his love affairs in a final search for peace and freedom. Among these remembrances there is the wife of a smalltown doctor who cannot forget him, a noblewoman wanting Sindbad to join her in committing suicide but changing her mind, and the mysterious recurring image of a naked woman rolling in the snow. Sindbad, as his name suggests, is ultimately condemned to roam. However, he is not a sailor, but a turn-of-the-century rogue, a romantic figure who admired women while they loved him, who brought them a sense of adventure and told them the lies they wanted to hear. Writer/director Huszarik, in his first feature film, shows a flair for fragmenting time and is faithful to the surrealist spirit of Gyula Krudy, the novelist. SINDBAD is an impressionistic tour de force set apart by the sheer visual beauty created by cinematographer Sandor Sara. “What sets the film apart is its sheer beauty.” – St. Louis Post-Dispatch