MELEGVIZEK ORSZAGA
LAND OF WARM WATERS

Igor et Ivan Buharov

Your cinema is made of fancy and imagination. For this new film, shot in Hungary, we encounter
full of wacky and improbable characters. How was this little troop formed? How was the film
made?
The film was made without a script. It is always a constant organic, paralel work. This method can only
work in small crews which are based on freedom and openness so we need to be flexible. That’s why we
are working with friends.
Miklós Mészöly wrote in his novel ‘Film’ that we would carry on as long as we had the supplies, whoever
and whatever it cost. As for the Buharov brothers, they will carry on for as long as the cosmic conquest
lasts, being supplied by Hungarofuturism secreted in the post-Hungarian body, which is then projected
on film in the form of bioelectricity. These Hungarofuturist films, including ‘The Land of Warm Waters’,
can be seen as a labyrinth that we built and then fell into and now are unable to scramble out of because
we had built it with our third eyes closed. Sirius is broadcasting information to us that will help us escape,
help us find a way out. It began two thousand years before Christ, in the Helladic Period, or perhaps in
the Mycenaean Age. We were such stellar architects that the exit of the labyrinth we constructed was
constantly changing its location, so there was no exit, since this labyrinth of images, the national
unconscious, this world—is alive.

You use a sparkling and humoristic tone, and you mix poetry, science, and also politics. A new
form of narrative as a way of taking seriously today the idea of utopia?
The spores of the neo-avant-garde have already been there before Christ, in the Helladic Period, or
perhaps even in the Mycenaean Age, when the first mycelia arrived from the land of Mother Kaltes.
Since Christ is a Hungarofuturistic mushroom. He is one of the master plants. Like Bakunin, who melts
on the tip of our tongue. The national unconscious is an extraterrestrial military art complex, which is
consumable per portion of one gram. In other words, getting lost and finding the way home are not our
only two possible options in the labyrinth, as the walls of the maze can also be degusted and eaten up.
You shouldn’t be afraid to break through the wall, which is viable not only by using ideological-political
power, but also by means of psychedelic appetite. This is the teaching of Revolutionparabotany. The
revolution is Hungarofuturist narcoterrorism. While consuming the fantastic Ego of the nation, the
repetitively expanding meaning switches over into its opposite and culminates in void so that we can
reach the ideological satori.
We are at the last moment. This is the age of darkness, vice, miserys, quarrel and hypocrisy, but we’re
here to help each other, so we need “humor” as a tool to free us, to wake up all beings.
At heart, could we consider the plants as the main character?
In the rosary of my many lives
I have taken the form of every creature;
I remember it only darkly,
Yet I feel it was something like this:
Since now I thrive on chung,
Once I must have been bee;
Since now I am so lustful

Once I must have been a cock;
Since now I am so angry,
Once I must have been a snake;
Since now I am so slothful,
Once I must have been a pig;
Since now I am so mean,
Once I must have been a rich man;
Since now I am so shameless,
Once I must have been a madman;
Since now I am such a liar,
Once I must have been an actor;
Since now my manners are so rude,
Once I must have been a monkey;
Since now I have such blood lust,
Once I must have been a wolf;
Since now I have so tight an anal sphincter,
Once I must have been a nun;
Since now I am so punctilious,
Once I must have been a barren woman;
Since now I spend my wealth on food,
Once I must have been a Lama;
Since now I am so avaricious,
Once I must have been a steward;
Since now I am so self-esteeming,
Once I must have been an officer;
Since now I enjoy cheating others,
Once I must have been a business man;
Since now I am so loquacious,
Once I must have been a woman;
But I cannot tell you if this is really true.
Consider the matter yourselves.
What is your opinion?
You shot in 8mm, a shooting format evoking home movies as well as experimental cinema. Can it
be considered here also as a kind of Lo-Fi medium?
It is an as-if environment with as-if beings, and an as-if history and civilization with as-if stories. But the
national Ego to which all the above applies is not simply the only reality, the only existant being, but a
fantastic existence that exists beyond reality. The import and export processes, requiring an accurate
measurement of the fantasticalness of the Ego, which the Buharov brothers perform with the
anarchometer, take place via images. The anarchometer is an instrument of spiritual narcoterrorism. If
every image is a mushroom, then the viewer is a viewer beyond reality who is reproduced in the labyrinth
of the national unconscious. And there come the communication of states, the emotional comprehension,
the possibility of political-aesthetic illumination, the satori in a distant, still unknown, but ever imminent
utopian space: xenotopia.
We all have an alien intelligence working inside us for millennia in the labyrinth of this extraterrestrial
military art complex. This is parapolitics, the politics of the parasitic minority in majority, the
(counter)revolution of paranormality that eats its own children, but these children are also mushrooms,
so close your eyes and swallow the subject of the nation.
(The text contains unmarked quotes from Ákos Szilágyi, Philip K. Dick, Dr. Sándor Opál, Péter Kőhalmi,

Márió Z. Nemes and Drukpa Kunley)

Interviewed by Nicolas Feodoroff