Céline Roustan

In Rinocerante, the fragile balance of a family faces upheaval as Balázs, the son, confronts his father, revealing that he has different aspirations than those that have been forced upon him. Set over three scenes, written and directed by Tamás Lakatos, the short explores both the father/son relationship and the toxicity of the head of the family. Simultaneously captivating and infuriating, how far will Balázs let his father go?

“The story was loosely based on Grimm folklore”

Over those three scenes, we witness Balázs grow in confidence, inching closer to the tipping point where he can no longer tolerate his father’s behavior. Discussing Rinocerante with Lakatos, the director shared with us that his aim was “to show a coming-of-age story with a dark-humor grounded in reality”. And incredibly dark it is! He also added that “the story was loosely based on Grimm folklore” and more predictably, “the issue of toxic masculinity within a family”.

With a tense and unsettling atmosphere throughout the film’s runtime, while there is no physical violence in the film, it is the psychological torment, by the father, that pushes his family to breaking point. Watching events unfold, you can see all the other characters boiling up inside, their increasing anger becoming more and more difficult to contain. For the viewers, that psychological violence triggers an almost visceral reaction. As it is conveyed on the screen through Márton Kis’ (The Swimmer) claustrophobic cinematography, the camera trapping us in its frame and Sebastian Thornton’s razor-sharp and precise edit, which infuses the tone with dark humor.

Márton Kis’ restrained camerawork helps to capture to the hold this father has over his family

In each scene, the camera does not move, but slowly closes in on the father and/or son, creating a suffocating atmosphere that works to heighten the toxicity of the father. This feeling of being trapped in the frame echoes the experience of the family, as they are unable to escape the father and his constant judgment, we feel imprisoned in that apartment alongside them. As the perpetrator of this toxic dynamic, the majority of the dialogue comes from the father, with Lakatos explaining that it was a blend of scripted dialogue and improvisation. 

For the film to be this emotionally engaging, and the climax to bring that much relief, the nuance and rawness of the performances was paramount. And while the camera mostly focuses on the father and son, the supporting cast are just as compelling, their portrayal of terror, discomfort and stiffness in the company of the father adding to his presence. Ferenc Lakatos and András Pál, the only male characters in the film (make of that what you will in terms of symbolism), deliver remarkable performances, vividly portraying the escalating tension in this confrontation.

With the world premiere of Rinocerante on Short of the Week today, Lakatos is already working on a new family drama, entirely set in a car as “they attempt to leave to go on vacation”. He shared with us that part of his intent is to “show that there is no individual without a community, but also there is no community without the individual. In this case in a family”.