On Body and Soul.

On Body and Soul (Testről és lélekről) is one of the five nominees for this year’s Academy Award for Best Foreign Language Film, the tenth time a Hungarian submission has made the final cut since they began submitting films in 1965. A film that alternates shockingly brutal imagery with a lyrical, otherworldly story about two of the shyest people you could imagine, the movie is a starmaking performance for actress Alexandra Borbély, who won the Best European Actress award in 2017 for her work here. It’s exclusively available on Netflix.

Borbély plays Maria, the new health inspector at a Hungarian cattle slaughterhouse, replacing the unseen Bori, who left early for maternity leave and appears by implication to have been a fairly lenient inspector. Maria is shy, lacks the ability to read social cues, and often seems emotionless to the workers at the facility, who make halfhearted attempts to connect with her. The factory’s CFO, Endre (Géza Morcsányi, a playwright in his first film role), is also shy and awkward, a well-meaning man who has lost the use of his left arm and keeps most of his colleagues at arm’s length. We realize before they do that the two of them are sharing the same dreams night after night, where each is a deer in a snowy forest, a fact that only becomes apparent to them when a theft at the factory leads to psychiatric interviews with all of the possible culprits. The discovery changes both of them, driving Maria to try to figure out how to relate to another person, while Endre rediscovers the sense of empathy he seems to have lost through years of disappointment.

Director/writer Ildikó Enyedi is unafraid to jar the audience with images of cattle being chained, killed, and bled, although many of these images have parallels to the strange journey of Maria and Endre, especially Maria. She has many aspects of a person with Asperger’s Syndrome or who is somewhere on the autism spectrum, although her condition is never named; these facets of her personality include extreme organization and cleanliness, which makes her perfect for her job … as long as she doesn’t have to interact with other people. Borbély, who had some TV experience and just three or four previous film roles, is marvelous in every way in this role, giving Maria both the affect-less expressions and intonations of a person who can’t read social cues or sense emotions in others, as well as the innocence, trepidation, and wonder of a child seeing or experiencing things for the first time. The role requires her to walk a tight rope to avoid Rain Man-like caricature without giving Maria too much emotion or sensibility, as if a relationship could ‘cure’ her. Even when the story hits its dramatic climax near the end, Borbély does not veer outside the character’s boundaries, reacting at one point in a matter-of-fact way to something awful that it became a darkly humorous moment instead.

Enyedi’s script offers a meditation on loneliness, especially for people who were, perhaps, not made for this world, like Maria, or who have grown tired of its letdowns, like Endre. Even with this utterly improbable link between them, the two find it difficult to communicate with or understand each other, and that disconnect threatens to leave them lonelier than they were before they discovered their shared experience. The script does lose steam a little in the final quarter of the film, because the setup is so strong – two people with no apparent connection are simultaneously dreaming the same dream, in an otherwise rational world where such a thing should be impossible. Resolving that story in an interesting way, other than simply having Maria fall into Endre’s arms, is difficult, and Enyedi gets it about halfway right. The big twist is also a bit predictable, and yet honest at the same time, because one character’s reaction to pull away from the other is understandable in the context of the film. I thought this would end up happening, but I also couldn’t tell you a more realistic resolution, either.

On Body and Soul won the Golden Bear award at the Berlin International Film Festival, as did Spirited Away, A Separation, and the 2016 documentary Fire at Sea; like A Separation, it also took the Grand prize at the Sydney Film Festival, so in theory it should have a reasonable chance at the Oscar. Instead, the betting site GoldDerby gives it the worst odds of the five nominees, with A Fantastic Woman considered the favorite – although neither that nor Loveless has played anywhere but New York or Los Angeles so far. Having seen four of the five Best Actress nominees, however, I will say Borbély more than deserved a nomination – it’s not unheard of, with Isabelle Huppert getting a nod for the French-language film Elle just last year – and I’d vote for her over both Meryl Streep and Saoirse Ronan.