Jakob Ladányi Jancsó first studied psychology at Freie Universität Berlin before, in 2019, taking up a master’s degree in film directing at the University of Theatre and Film Arts in Budapest. He withdrew from the university in his second year in protest at the undemocratic restructuring taking place there but was able to complete his degree thanks to the Emergency Exit Programme of the FreeSZFE association at the Vienna Film Academy. He has worked closely with Béla Tarr for whom he was an assistant. He is currently developing his debut feature film.
What was your starting point for „Élő kövek“?
I was intrigued by this tragic, sensitive character with a self-destructive drive, played by Lilla Kizlinger, who did an amazing job of creating a complex and authentic portrayal. I wanted to explore what might happen if she encountered someone capable of both helping her and causing harm. I wanted to examine an unbalanced power dynamic, where one party is particularly vulnerable and exposed while the other has the opportunity to help someone or to abuse their position for their own gratification.
The therapist, portrayed by Árpád Schilling, fascinated me with his ability to manipulate — a skill he uses for both good and ill. This duality added layers of moral ambiguity, making his character especially unsettling. In earlier versions, the young woman sought help within a religious group. During rehearsals, the growing intimacy between the two lead actors added profound depth to the story, pushing me to narrow the focus exclusively to their interactions in a closed therapy setting. The power dynamic in this context became less obvious but, in many ways, even more dangerous.
Do you have a favorite moment in the film? Which one and why this one in particular?
It’s unsettling and painful to watch, but I think the most important moment is when she tells her therapist about her non-consensual sexual experience with a man. It was a very difficult scene to shoot, and Lilla struggled to find an emotional path to the core of the scene, but she eventually did. It was both devastating and moving to see how truthfully and authentically she was able to tell that story. The strength of the scene lies in the fact that she is realizing what happened to her as she recounts the experience to the therapist. I think Arpad did a great job at acting like a therapist while subtly crossing boundaries that a professional should never breach.
What do you like about the short form?
It taught me how to find the essence of a story.
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PRESS REVIEWS
„An excellent Lilla Kizlinger stars as Natasa, a suicidal young girl working with a therapist in a rehabilitation centre. He constantly asks her uncomfortable questions as the camera leers even more uncomfortably close to her face. Jancsó is particularly accomplished at creating an ever-increasing sense of dread, the final result a disturbing peek into a world off its axis.“
review by Redmond Bacon for Journey into Cinema
„„Atmende Steine“ zeigt uns einen Dialog zwischen zwei Seiten, zwischen denen ein Gefälle wirkt. Da gibt es die junge Frau, die tief in sich hineinhören muss, um zu begreifen, was ihr widerfahren war. Ihr Gegenüber ist ein erfahrener Mann, der die Macht hat, sie entweder zu manipulieren oder zu leiten. „
review by Elisabeth Nagy for Riecks Filmkritiken
„More straight narrative fare is on offer with […] films dealing with young women growing up in a complex society. Living Stones by Jakob Ladányi Jancso (Hungary) is an enormously powerful short about the space between healing and hurting, while Because of (U) by Tohé Commaret (France) is a subtle yet massively affecting character study of a girl left behind by the people in her life.“
mention by Laurence Boyce for Cineuropa
„Jakob Ladányi Jancsó, der eng mit dem ungarischen Filmregisseur Béla Tarr verbunden ist, gelingt in Élő kövek eine psychologische Detailaufnahme einer verstörenden Beziehung zwischen Therapeut und Patientin. Die Protagonistin Natasa wird brillant gespielt von Lilia Kizlinger, die bereits 2021 auf der Berlinale einen Silbernen Bären für die beste Nebenrolle gewann.“
mention by Peter Bratenstein for zeitgeschichte online
reactions on letterboxd
Berlinale Shorts 