Gábor Reisz’s third feature film, *Explanation for Everything*, ambitiously tackles significant and complex themes such as patriotism, political polarization, the role of media in politics, and historical reverberations. Set against the backdrop of contemporary Hungary, where ultra-nationalism has gained substantial traction, Reisz delves into the origins and consequences of this socio-political climate. With a substantial runtime, the film demands a long attention span from its audience, but it is absolutely worth it.

The narrative centers around 18-year-old Ábel (Adonyi-Walsh Gáspár) during his high school graduation exams. This period, often a turning point in the lives of young adults, is particularly stressful for Ábel, who is confident in most subjects but fears for History. This fear is enhanced by his parents’ insistence on its importance. Ábel’s father, György (István Znamenák), embodies nationalistic ideals, viewing EU politicians as adversaries. Contrasting György is Ábel’s liberal History teacher, Jakab (András Rusznák), a vocal critic of Viktor Orbán’s ruling Fidesz party. Jakab, while teaching and making a documentary on the 1956 Hungarian Revolution, neglects his family, causing personal friction.

Reisz carefully positions the characters, ensuring their motivations and relationships are clear before the narrative accelerates. The pivotal moment arrives on the day of Ábel’s history exam, when he inadvertently wears a patriotic lapel pin from the national holiday of March 15^th, commemorating the 1848 revolution. Ábel is ill prepared, completely shuts down and fails to answer any questions during the oral exam. Jakab talks to him to lighten the mood and mentions the pin. Jakab’s innocent remark about the pin, which is often associated with the Fidesz movement, becomes a catalyst for Ábel to accuse Jakab of bias, claiming to his father that this led to his exam failure. Ábel’s innocent lie and excuse for failing his exam becomes the cause of a scandal, propelled by nationalist media. This incident brings Ábel, György, and Jakab into an intense public and personal conflict.

Reisz presents the story from the perspectives of all three central characters, offering a balanced and nuanced portrayal of different political stances. Ábel is portrayed as a typical teenager, disinterested in his father’s nationalist ideals and preoccupied with personal concerns like his unrequited love for a classmate. He serves as the blank slate upon which the conflicting ideologies of his father and teacher are projected. Jakab, while morally sound and perhaps the character audiences most readily empathize with, is also shown as flawed, neglecting his family and quick to anger. György represents a worldview many would dismiss as extremist. However, Reisz does not excuse György’s behavior but rather contextualizes it within Hungary’s tumultuous history of foreign domination and subsequent frustration which lead to nationalism.

The film’s primary theme is the lack of dialogue between the polarized factions represented by György and Jakab. Their ideological clash, is exposed during a verbal spat at György’s home. Jakab came there to look for Ábel because he wanted to talk about the scandal. Ábel wasn’t home and he didn’t answer any phone calls, causing both his parents and Jakab to worry. The heated discussion between Jakab and György underscores how entrenched both sides have become in their perspectives, often reverting to accusatory rhetoric, and it shows how easily both sides lose track of the actual importance: Ábel’s wellbeing.

Jakab’s wife, Dorka (Eliza Sodró), represents the innocent bystander who just wants the best for everyone. During a powerful performance and, in my opinion, a crucial moment in the film. Dorka is critical of her husband. Jakab, while being factually in the right and innocent, fails to empathize with those who have falsely accused him of political discrimination. Dorka confronts him with his ideological arrogance, and this leads him to reach out to Ábel, which in turn leads to the conflict with György. Dorka’s confrontation and honesty causes the estranged sides of the story to meet and – while in the form a verbal fight – talk.

Despite minor flaws—such as the somewhat far-fetched way Ábel’s story reaches the press and an on-the-nose metaphor involving a leaking refrigerator—*Explanation for Everything* succeeds in humanizing political extremism and showing the consequences of it in every day domestic life. The film’s portrayal of this conflict suggests a critique of how political and class resentments are often distilled into oversimplified narratives that fuel media sensationalism. The film’s boiling down of complex social issues to binary political conflicts might be intended to critique the media’s role in feeding polarization.

In conclusion, *Explanation for Everything* is a nuanced and realistic exploration of contemporary Hungarian society, reflecting on its historical roots and present-day divides. The film raises important questions about national identity, political allegiance, and media influence. Despite its lengthiness, some on the nose metaphors and a few poorly timed hyperbolic lines in the script, it stands firm in its humanity. Reisz’s depiction of the nuanced interplay of personal and political conflicts offers an empathic lens through which to examine the increasing polarization in today’s world.

Written by Jeroen Bosch