THE SPECTACLE Fiction by Bálint Kenyeres I France, Hungary

March, 2026

The Spectacle: An exploration of light, silence, and human dignity

By Koumoutsi Soultana

The title of Bálint Kenyeres’ latest film, The Spectacle, carries a double weight. It refers at once to the grand tradition of cinema—the medium of light and projection—and to the darker, more voyeuristic impulse of our modern age: the transformation of human struggle into a curated display. In this hauntingly beautiful short, a young Roma boy is "lifted into the light," becoming the focal point of an external gaze that is as illuminating as it is intrusive.

Kenyeres, a filmmaker whose career has been defined by a rigorous, philosophical approach to the image, creates a world where silence speaks louder than any script. There is a primal, almost tactile quality to the storytelling, largely due to the film’s reliance on atmosphere and the visceral presence of its young protagonist. The narrative tension doesn't stem from what is said, but from the friction between the boy’s internal world and the "spectacle" he is forced to inhabit.

Collaborating with the visionary cinematographer Thimios Bakatakis, Kenyeres eschews conventional clarity for a visual language of reduction. Utilizing natural light and the raw textures of real locations, the film moves from moments of soaring aspiration—where the camera "flies" with the boy—to a sobering dissipation. It is a film that reminds us that the most profound human truths are often found in the margins, in the quiet intervals before the camera rolls and after the lights fade.

As The Spectacle arrives at the Psaroloco International Film Festival 2026, fresh from its competition at Cannes, we explore with Kenyeres the ethics of the gaze, the necessity of silence, and why, in an era of total visibility, human dignity remains the most vital "unseen" element of all.

Bálint Kenyeres

Bálint Kenyeres was born in 1976 in Budapest. After studying philosophy, film history, and film theory, he graduated as a film director at the Budapest Film and Theatre Academy in 2006. Since then, he has been a member of the European Film Academy. His film ZÁRAS (CLOSING TIME) premiered at Venice Film Festival and got selected for more than 30 other film festivals, winning a dozen awards. His second short, BEFORE DAWN, was in Competition at Cannes Film Festival in 2005, won a Jury Prize at Sundance Film Festival, and got the European Film Academy Prix UIP for the Best European Short in 2006. It was selected at 140 festivals and won 30 awards. His third short, THE HISTORY OF AVIATION, premiered at Director’s Fortnight in Cannes in 2009 and has been selected for 50 film festivals. His first feature HIER (TEGNAP), a European coproduction, premiered in Competition at Locarno Film Festival in 2018. His recent short THE SPECTACLE is in Competition at Cannes Film Festival in 2025.

Filmography: 2025: THE SPECTACLE / short 2018: HIER / feature 2009: THE HISTORY OF AVIATION / short 2005: BEFORE DAWN / short 1999: CLOSING TIME / short

The film depicts a young boy "lifted into the light," only for it to fade. How does the film use this imagery to comment on the fragile nature of visibility for marginalized communities?

Bálint Kenyeres: Formally, this is built into the camera. When the TV crew is present, the camera is constrained: mostly static or limited to horizontal movement. It is confined within the physical and social boundaries of the house, mirroring how the boy is framed, contained, and interpreted by others. Before the crew arrives—and after they leave—the camera regains freedom. It moves laterally in space, and at its most open, it begins to “fly” with the boy. These moments align with his internal state rather than an external gaze.

“Visibility does not justify intrusion. Attention does not cancel dignity.”

— Bálint Kenyeres

The film relies on a powerful atmosphere rather than dialogue. How does this "silence" help a teenage audience connect more intuitively with the boy’s emotional journey?

B.K: The film does not rely on dialogue to explain the boy; it asks the audience to observe him. What matters is how he occupies his body—his stillness, his reactions, the tension he carries. These are not performed ideas but traces of a lived reality. This creates a more direct entry point: you are not told what to think, you read it instinctively. Silence here is not absence but concentration. It removes interpretive guidance and places attention on presence—on the face, on gesture, on duration. On the other hand, there is some really fun dialogue in the film, especially for a native audience,

With Thimios Bakatakis on cinematography, the film achieves a unique aesthetic. How did this collaboration help bridge the gap between the boy's aspirations and the eventual "fade" of the light?

B.K: The approach was based on reduction. We worked with a real location, limited time, and minimal resources, so the strategy was to extract as much as possible from what already existed—natural light, spatial constraints, the textures of the environment. Thimios has a precise sensitivity to this: he doesn’t impose an aesthetic; he reveals what is already there. This was essential for the film’s central movement—from aspiration to dissipation. The “light” always emerges from the same material reality that later absorbs it. Beyond his particular sensitivity, Thimios’ tremendous shooting experience proved essential. With significantly less time than one would normally need, there is no room for hesitation or overthinking—decisions have to be immediate and precise. His experience allows that without compromising coherence. And just as importantly, he is simply a great person to work with—someone who brings calm, focus, and a good presence to the set.

At Psaroloco, we focus on media literacy. What message would you like to send to our viewers about our ethical responsibility as an "audience" when witnessing the elevation or struggles of others?

B.K: I tend to avoid framing films as messages. What I wanted to say is already in the film. But more generally, the question is not about media systems—it is about individual responsibility. As viewers, we participate in the act of looking. If there is a baseline, it is simple: a basic level of human decency should be enough to guide how we engage with other people’s lives. Visibility does not justify intrusion. Attention does not cancel dignity. The film does not prescribe behavior, but it does ask the viewer to become aware of their position within that dynamic.

Trailer

Film aligned with the goals:
SDG 10 (Reduced Inequalities): By highlighting the systemic inequalities and social marginalization faced by the Roma community, the film advocates for social inclusion and the protection of dignity for the most vulnerable groups against the exploitation of their public image. SDG 16 (Peace, Justice, and Strong Institutions): Exploring the ethical responsibility of the "observer" and the "invisible violence" of media intrusion, the film promotes a just social framework that respects privacy and human integrity. SDG 1 (No Poverty): Through the depiction of young Vilmos’s living conditions, the work reveals how poverty is often turned into a "spectacle" for external consumption, calling for a more substantial and less superficial approach to economic disparities. SDG 4 (Quality Education): Through Psaroloco’s Media Literacy lens, the film fosters critical thinking in young audiences regarding how media "constructs" reality, while enhancing empathy by focusing on silence and internal human experience.

MEDIA LITERACY INSIGHT

Why "The Spectacle" is a vital case study for our readers:

The Ethics of the Gaze: The film serves as a profound lesson in the ethics of observation. It teaches young audiences that "looking" is not a passive act but a choice carrying responsibility, especially when the lives of others are transformed into a "spectacle" for consumption.
The Cinematography of Constraint: The contrast between the static camera (during the TV crew's presence) and the "free" camera (when the boy is alone) is a masterclass in cinematic language. It demonstrates how media can "frame" and limit human identity within prefabricated narratives.
The Deconstruction of the "Spectacle": In a world addicted to digital exposure, Kenyeres deconstructs the notion of public visibility. The film challenges the audience to ask: Does media attention reveal the truth, or does it merely consume the subject's dignity?
Silence as Narrative Strength: Contrasting with the constant "noise" of social media, the film uses silence and atmosphere to communicate internal experience. It offers an excellent entry point for discussing how the absence of dialogue can enhance empathy and critical observation.