FeistyUpper If you don't like this, we can't be friends.

Dotbankey A lot of fun.

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

writeyibo I consider this a master piece! It is a rated adult fairy tale. It is a dream projected to the viewers. It has distinctive story telling. The sound compilation and cinematography are both great. The film creates such an impact you either love it or hate it. Sex and violence always catches viewers attention.But it has never been done this way!The film is absurd and surreal. Director Szabolcs Hajdu is not afraid of taking the risk.And be who he really is! I haven't seen something raw powerful and original like this movie for a while.

soapta they say picture is worth a thousand words, but often words make the difference. i'm fortunate to speak most of the languages in this movie and it seems to make a difference. therefore i'd like to outline some details relevant only if you've seen the movie already.*** spoiler start ***the first one is about the bureaucrat at the child protection services: his report/evaluation is a very important/decisive factor in Mona getting back her daughter. at first he's the typical formal bureaucrat, but after hearing Mona's fantasy story he practically forces her to face reality (by telling her that her daughter would be easily adopted by Italian families) and make a clear choice. then he even makes her statement "officially better sounding" by dictating additional text to the typist. an added bonus is the approving smile of the typist when he dictates his final recommendation.the second one is the blunt/real story of Mona: after what seems a one-night-stand she's pregnant, the father disappears, she raises her daughter alone having various low income jobs (you don't make a fortune selling sunflower in a train station) ... and gives in to the temptation of "easy" money, leaving for an "erotic job" in england. after facing reality there, she returns home. so the blunt reality is that she didn't return for her child but because she got fed up ... and is therefore clearly an unfit parent.now to the reason i liked this movie so much: while we know for sure that her initial fantasy story is just a way to cope with her own guilt, we get to see the firemen orchestra (no police, no special forces) "escaping" from her daughters dream to save Mona ... which is probably the reason that convinced the bureaucrat to see a potential good mother in Mona. we don't get a lot of second chances in life ... but sometimes, if we're lucky enough, it happens.*** spoiler end ***also, for the reasons described above, i think a comparison to Lilja 4-Ever is rather forced. both movies are excellent, but they're too different.

Davor Blazevic Hungarian-German-British-Romanian co-production movie Bibliothèque Pascal (spoken mainly in Romanian, occasionally in English, while Hungarian is used extensively only in a single theatrical monologue) deals with the heavy subject of human trafficking and sex trade, presented through an imaginative world of the main character, (in)voluntary victim of a modern day slavery, who, in her attempt to reclaim custody of her little daughter, (un)knowingly resorts to fairy-talish description of how she met and lost a man who fathered her daughter and what extraordinary powers little Viorica inherited from him, of good causes she followed to accept her foreign (sexploitive) engagement, and of the imaginative way her "services" were delivered. The only mild objection that can be given to the movie is that everything in it, revolving around Mona Paparu, quietly radiating leading character of subdued expression (brought to the screen by brilliant, classically beautiful Hungarian actress Orsolya Török-Illyés), her life, at first as a traveling artist in the puppet theatre, and later as "Jeanne D'Arc" in stylish chambers of the title "library", inhabited with prostitutes for high-end clientèle, impersonating famous characters from literature (ranging from Desdemona and Ophelia to Dorian Gray and Pinocchio) is too nice and polished for the ugly and rough reality the movie deals with--the very same sole objection that can be given to Guillermo del Toro's extraordinarily beautiful, phantasmagoric El laberinto del fauno (Pan's Labyrinth, 2006), in which a young girl escapes from brutalities of life and her ruthless stepfather, army captain in WW2 fascist-ruled Spain, into the fascinating world of her own imagination--confronting guilt and innocence, violence and kindness, coldness and compassion

Rindiana If you think this is going to be one of those sprightly bright Balkan ethnic panoramas in the superficially entertaining Kusturica mold, you're in for a surprise: Beneath all the visual pizazz and eccentric characterizations lies a deeply disturbing portrait of a society marked by physical and mental exploitation as well as moments of human kindness.Director Hajdu spins an intriguing web of shifting and merging narrative levels of reality versus imagination, both grim and light. By doing so, he gets a better grip on the imponderability of life than most "real" social dramas put together.Some may find the way he's handling the brothel scenes way too florid, but bear in mind the narrative's fantastic underpinnings and all fits into place.8 out of 10 literate pimps