Blondie's Paradise - synopsis

If there is such a thing as a road movie, then "Blondie's Paradise" is a street movie. It takes place in streets, squares, dives and apartments - in a city: the wealthy and dilapidated city of Budapest at the beginning of the 21st century.

Two stories run in parallel, in blocks: three days in lives of Blondie, a homeless man, and Tita (Titanilla), a high school student. Via dramaturgical techniques, we make the viewers feel that the two stories must converge, sooner or later...

"I don't want to sober up, ever." That's Tita's key sentence, and she’s only just turned fifteen. She's a late bloomer who finds herself uninteresting. Possessing all the charm and awkwardness of late adolescence, this depressed, feather-brained, cheeky young miss is searching for her role and place in Budapest, at the dawn of the millennium, amidst the neurotic and voluptuary chaos of the upper middle class. She tells lies continually because she is dissatisfied with the world, her own securely wealthy and boring family, and especially herself. She creates entire worlds around herself: stories that ballads, books and dramas are made of, completely uninhibitedly and with inexhaustible imagination. She projects a non-existent reality around herself; a reality in which she appears interesting, for whatever reason. In a strange and also characteristic way, it is precisely this that will make her interesting for many.

Being taken to a molting party where the highlight of the night sees the gorgeous youth dancing in only their underwear, Tita tells enough lies about herself to fill a spy novel, and Noir falls for her completely.

Tita comes up with a feebly beautiful tale about her adolescent drug related experiences and her mad older brother. This time, she succeeds in getting Csóka (Noir's classmate) to fall head over heels for her. Then they go to an illegal drag race. Tita begs and begs until Rodi finally lets her sit in his huge four wheel drive. She ends up vomiting in it, and subsequently comes up with a newer tale about her boring father and fighter-pilot uncle. Now not even Rodi can escape her charm.

She tries speed for the first time at a Goth-metal concert. It's an eerie experience. They then cool off in Rodi's nouveu-rich apartment. Csóka keeps feeding Tita alcohol until he manages to free himself of his inhibitions, and Tita of most of her clothes. He tries to take advantage of her, but to no avail, because she almost dies from the overdose of alcohol and party drugs. But she still has some reserves, and she survives in the end.

Blondie is a man, about thirty-five years old. He's not blond, and he doesn't have blue eyes. He is unshaven. His mates nicknamed him Blondie, because he's got a thing for blonds. He was a lawyer once, then he slipped up, got divorced, fleeced, etc. But we only sense this now. It's not important any more. Blondie and his companions - the eternally dissatisfied Thorn, and the burly, somewhat weak-minded Macho - are innocent, jocular rascals, unwilling to accept the terrible dimensions of their fate. They are Steinbeck type heroes. They have nothing to lose any more.

The usual copulation doesn't take place that day, but our boys end up ten thousand forints richer. Their big booty causes their downfall. Thorn's epilepsy is set off by the unusually large quantity of alcohol they consume afterwards. Macho still has a last, faint path back to society. Blondie, however - totally alone now - tries hopelessly to hang on. He tries to take shelter in a half complete villa in Buda, but a fatal accident causes his death.
In the early hours of the morning, Rodi takes Tita for a walk. It just happens to be at the construction site of the villa that he's currently dealing with. To top off an eventful night, they find Blondie's corpse there. This is where the two stories connect, for a short, cathartic moment.
This is a slightly obscure, edgy film about a slightly turbid, edgy world. It is sharp, splintered, jabbery and dim. It aims to evoke emotion, but is itself insensitive, just like animes, electronic psycho-horrors and dense metal music.
The situations are more ironic and comic rather than depressing, and are countered by the visual world of the film.