New Filmic Waves in Hungarian and Romanian Cinema: Allegories or Stories about Flesh? Andrea Virginás Sapientia Hungarian University of Transylvania (Cluj-Napoca, Romania) E-mail: avirginas@gmail.com Abstract. Presupposing that historical and generational resemblances allow for a joint reading of their films, postcommunist Hungarian and Romanian (also nicknamed “New” and “New Wave”) directors’ films are examined (Radu Muntean, Szabolcs Hajdu, Attila Gigor). The proposal of allegorical reading is made, with specific filmic locuses highlighted as creating cinematic allegories out of (graphic) isolation and intermedial mixes. Overview My chief aim is considering the phenomenon of the Romanian New Wave and the Hungarian Young/New Film, in the working stage of a research project focused on those Hungarian and Romanian filmmakers who began their careers in the post-communist period. Hungary and Romania are neighbouring Eastern-European countries; yet, different historical trajectories and, therefore, different EU accession dates (2004 and 2007) characterise their existence. However, both being former Soviet satellite states, with their cultural and filmic production structures corresponding to socialist cultural policies and developing along different routes after the changes occurred in their post-1989 social regimes, their study offers the possibility of multifaceted conclusions. The somewhat arbitrary (yet, of course, historical) date of 1989 defines the outlines of mainly two (distinct) groups of film-creators: a.) those who already had a career before the collapse of the socialist regime, and, consequently, continued their career in the post-socialist era as well. Although we will make references to such authorial names (from Dan Piţa to Lajos Koltai), our interest and the focus of our analysis lies elsewhere; ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 4 (2011) 131–141