KIX

France, Croatia, Hungary 2024 – Directors: Bálint Révész, Dávid Mikulán – Original language: Hungarian – Subtitles: English – Duration: 90 min.

An award-winning documentary that shows the life of young Sanyi from the working-class districts of Budapest. Authentic, emotional and stylistically unique - Dok.edit Award - presented by Adobe - Winner 2024 captures the growth of a child in a harsh world over ten years.

KIX captivates audiences with its experimental and immersive storytelling. Over several years, director Bálint Révész follows a group of children from the poorest neighborhoods of Budapest, creating an unvarnished and compelling portrait of their life realities.

The documentary centers on Sanyi, a working-class boy from Budapest, whose story unfolds over a decade. As the film opens, viewers see children playing carefree on the streets, establishing an initial sense of innocence that will soon be challenged. Révész, who also serves as the cinematographer, befriends the children through skateboarding, lending them his board as they joyfully navigate their surroundings, decorating the streets with chalk. These encounters evolve into friendship, yet it becomes clear that the next 90 minutes will depict ten years of Sanyi’s formative life.

However, this initial carefree spirit starkly contrasts the harsh realities faced by the children. They are confronted with drugs, violence, and the constant dangers of urban life. Though only around nine years old, they behave more like adolescents grappling with puberty, using foul language, fighting, and causing chaos. The strikingly vulgar dialogue grabs the audience's attention and highlights that Sanyi and his friends are prematurely burdened with issues that should not concern children their age—problems stemming from being alone in the big city. Sanyi articulates in voiceover, “It may look like we are playing, but this is serious for us.” This sentiment captures the multifaceted nature of poverty in Budapest, as they encounter homeless individuals living in ruins.

The symbol of chalk reappears throughout the film, as the children embellish not only the streets but also the ruins, often making irreverent jokes at the expense of the homeless. These lively images contrast sharply with quieter scenes, where the children respond to profound questions, offering a glimpse into their inner worlds. For example, when asked, “What do you think about work, Sanyi?” the children respond with an unusual rationality for their age.

Révész adeptly switches between dynamic and still moments, enhancing the authenticity of the narrative. As Sanyi and his friends approach adolescence, a demonstration against their teachers encapsulates their frustrations. The streets become canvases for chalk and graffiti, while Sanyi exhibits aggression in his social interactions—fighting at school and during swim practice, asserting his independence against authority, which he attributes to the chaos at home. Despite these aggressive tendencies, moments of playfulness persist. Sanyi's extended monologues in voiceover reveal his quest for direction in life. The family dynamic shifts, focusing increasingly on Sanyi's younger sister, as their grandmother harshly remarks, “Yes, the girl is cute, but she shouldn’t have been born.” Concurrently, the frequency of social services visits increases, indicating the parents—especially the overwhelmed mother—struggling to fulfill their roles. Initially presented humorously, these interactions quickly turn serious, exposing the father’s inability to cope, leading to aggressive outbursts.

Despite the film's dark moments, glimmers of hope emerge as Sanyi and his friends encounter positive changes. Renovations and Sanyi's newfound enjoyment in sports hint at potential growth. Yet, like classical dramatic theory suggests, the tension escalates toward impending catastrophe. Approaching adulthood, Sanyi engages in reckless behavior, including setting a mattress on fire, which spreads to a neighboring student housing unit, resulting in a tragic death. His disconnect from reality becomes evident when he struggles to write a letter of apology to the widow of the deceased, needing his mother to dictate it.

The film concludes, mirroring its opening, with scenes of tussles in the park featuring a now ten-years-older Sanyi. This emotional journey fosters an intense connection with Sanyi, especially during the reading of his statement at the trial, which serves as a poignant summary of his life as portrayed in the film. After 90 minutes, viewers feel intimately acquainted with Sanyi. The unusual closeness between the audience and the protagonist becomes particularly poignant during the emotional recitation of Sanyi’s verdict.

The film's narrative unfolds with profound emotional impact, particularly at the moment of Sanyi's sentencing. This lengthy observation allows the audience to witness Sanyi’s development and gain a deep understanding of his challenges and triumphs.

Remarkably, KIX often feels like a fictional film, defying the conventions of typical documentaries. The director's skill in condensing such a long period into a mere 90 minutes is impressive, enhancing the drama and intensity of the narrative. This compression invites viewers to not only witness Sanyi's life but also to engage emotionally with his journey, creating a captivating experience that blurs the lines between documentary and narrative film.

The authenticity of the film is amplified through its raw imagery. Nothing feels polished or edited; the point-of-view shots at the film’s start immerse viewers directly into the director's and cinematographer's perspective. The handheld camera work, shaky and using a fisheye lens, evokes the style of early 2000s skateboarding videos. Viewers feel as if they are getting to know the young Sanyi and experiencing his life firsthand. Additionally, the amateur, experimental B-roll footage—with strong digital zoom and camera shake—further enhances this natural, “unfiltered” atmosphere, edging the film toward a found-footage aesthetic. This all contributes to an emotional closeness to Sanyi, while the recurring chalk motif reinforces the film's artistic character.

The film’s audio design significantly contributes to its emotional resonance and atmospheric depth. It skillfully combines diegetic and non-diegetic elements to draw the audience into the narrative and the characters' inner lives. Non-diegetic voiceovers, where the protagonist serves as narrator, allow the audience to delve deeper into his thoughts as he reflects on his experiences. This narrative style fosters an intimate connection, letting viewers experience events from the protagonist’s perspective. Sound effects enhance emotional proximity to the characters and heighten scene intensity. For instance, rhythmic drumming accompanies the children's scuffles in the playground, adding a humorous touch. In a scene where Sanyi stands under a waterfall, the combination of natural water sounds and aggressive bass symbolizes the immense force of water, but also the symbolic restlessness inherent in Sanyi, creating a powerful atmosphere. The blend of documentary realism with symbolic sound design immerses the viewer deeply in the cinematic world, evoking a suffocating yet overwhelming ambiance that underscores the protagonist’s physical experiences.

The film’s editing impresses with its ability to distill a vast amount of footage into a concise runtime without losing the narrative thread. Despite the abundance of scenes and moments, the film’s structure remains clear and coherent, keeping viewers engaged. Audiences inevitably wonder how such a wealth of footage was seamlessly integrated without sacrificing critical narrative elements or depth. This extraordinary editing craft lends the film dynamism and structure, rightfully earning it the title of "Best Documentary Editing." It demonstrates how meticulous selection and precise cutting can achieve a balanced interplay between content and form.

Overall, KIX presents an exceptional cinematic journey that compellingly portrays the life realities of children in Budapest's poorest neighborhoods. The documentary excels through its experimental storytelling, granting viewers deep insight into Sanyi’s life while illuminating the challenges faced by an entire generation.

By skillfully blending authentic imagery, thoughtful audio design, and precise editing techniques, the film creates a captivating narrative that blurs the lines between documentary and fiction. The emotional closeness to Sanyi and his friends is heightened by the artistic portrayal of both humorous and serious moments, crafting a multifaceted representation of their reality.

As the winner of the Dok.edit Award 2024, KIX stands not only as a documentary but as a poignant appeal for understanding and empathy toward the living conditions of children from working-class families in Eastern Europe's urban fringes. It is to be hoped that this film raises awareness of the challenges these children face and gives them a voice.