Absolutely the worst movie.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

The Holocaust was a very dark and gruesome point in human history , Fateless is a great movie about that time , but from a child’s point of view , the story is gruesome and sad one , first we see Urka a healthy and happy child living with his parents , and after he was arrested and sent to the camps we see him pale and lifeless due to the indescribable sufferings he endured . I think the most chilling scene is when Urka looks at his severely infected knee , and then he looks straight at the camera ….at you , it is like he is telling you please help me,I am helpless here.. A work of masters Lajos Koltai , Imre Kertész and the breathtaking music by Ennio Morricone , and don’t forget the superb performance by Marcell Nagy .It is a masterpiece it is a must see movie

I got to see Lajos Koltai's Fateless almost a year after it had first been presented in Hungarian movie theaters. I had much anticipation and high demands when I sat down to eventually watch it through. Soon I got a little disappointed though, and emerged from my seat after the end credits missing the cathartic realization of having seen a spectacular adaptation of a highly-acclaimed, Nobel-prize winning literary artwork. I have to say, hardly a bit of the original novel's conception came through. In the book the protagonist has a genuine, utterly sarcastic view of the tragic events of the Holocaust, whereas in the movie 16-year-old Marcell Nagy is struggling to show any authentic emotions other than the confusion he might have felt on the set of a film of this grandiosity. He simply does not have the intuition necessary to convey Gyurka's take on the inexplicable behavior of people infected by twisted ideologies. Other acting performances also fall flat discrediting Koltai's every effort to make Fateless a great piece. Photographying, however, is wonderful and sets nicely detailed and very authentic-looking. The faded, almost black-an-white images with the occasional occurrence of the color red is – if I am trying to be careful with my choice of words – very much reminiscent of Schindler's list though.

The films about Shoah are steps of a staircase. Different colors, personal texture but same essence. The facts, the suffering, resistance and fear, tears and hope are only nuances of a single image. So, not the aspects of terror are surprising but the way to self-definition, the gleam of miracle."Sorstalansag" is, in great measure, unique. Not for story, acting or lights but for the exploration of world's soul in a delicate subtle manner.In some moments, it is a poem, about God and His discovery, step by step.It is a mute cry and definition of classic social dough. A description of faith and people, symbols, places and taste of reality beyond the flavor of ordinary candies.The glance of Marcell Nagy is more than result of splendid acting. It is unveil of the essence of a old and putrefied world, the real image of social nooks, the bricks of fear and narcissism, self-protection and affective mud, definition of identity.Not the Nazis are pieces/instruments of hell but the others, neighbors, fellow countrymen, Hungarians dabblers for who the other is perfect scapegoat, the victim, the litter or ordinary ware.For me, this film was an profound experience and its author is the art of Imre Kertesz for show the niggardliness of a time in a novel and screenplay.A war with the images, memories and realities. A testimony in a cruel subtle manner. Anatomy of truth and definition of a chaotic universe. Shadows of Hieronymus Bosch and flavors from Dostoevsky.And young Gyorgy Koves as judge, testimony and victim of a strange miracle. In fact, the conscience of a lost corpse, sign of lost hope.

Because of SCHINDLER'S LIST, movies about the Holocaust became more intense in their depiction of the horrors committed in the concentration camps. However, FATELESS has less in common with Spielberg's movie and is closer in essence to THE PIANIST in which a young man -- here a teenager -- is put into the meat-grinder of experience and survives to tell his story. It also shares a similarity to Spielberg's EMPIRE OF THE SUN in which another boy also faced the horrors of war and experienced an accelerated, painful growth, emerging as a near shell of his former self at the close of the film.However, the boy in FATELESS, Gyuri Kovacs, is faced with a dilemma concerning his own Jewishness all throughout the movie. At the start of the movie, a girl he has a crush on expresses her anger at being labelled a Jew and having to wear the cross. It's as if, for her, being Jewish were the equivalent of being a freak of nature -- and it's a possible feeling, not very mentioned, because for many, suddenly being thrown into the lion's den and being systematically destroyed for the very sake of being Jewish must have been as incomprehensible for them as for example, a gay man being pummeled to death by homophobes.Later on, when he is through a "fateful decision" taken into Auschwitz, we're given hints of the inhuman levels of violence that just being in the camps must have been. A short scene in which one of the boys reveals his age to be sixteen and is sent to a group where other "selected" stand, is so potent because of what it implies rather than shows as the camera lingers for one long moment at his bespectacled, confused face. His own survival seems to rely on his veiled attitude at the horror he experiences: it's as if his own incomprehension of what is happening to him would be his own saving grace.And even then the question floats over his head as to his own heritage, to which he has no answer. Moments of inevitable friendship ensue with a young man who takes to the boy, and in the meantime, the picture grows more and greyer as the life is literally sucked out of Gyuri.A turning point takes place late in the movie, however, and it becomes a nearly unwatchable experience to see Gyuri being placed in a row of corpses (more so because another near-dead man, thin as a rail, resists even then to his own "fate"). His own survival and return to society is comparable to that of the shell-shocked Vietnam soldiers who, once they came back from the war, were greeted not with open arms but with a sense that they were damaged goods.What is surprising, though, is the attitude that Gyuri has once he is free of his systematic punishment. It's a facet that hasn't really been explored, and one that I thought was an interesting, novel approach not just to this situation but any situation. The fact that Gyuri decides to say that he never saw gas chambers or crematoriums, and that he decides not to let this horrific event have any hold over him is probably the single most powerful message FATELESS expresses. By not wallowing in the tragedy, the movie takes on a transcendental quality. It's a rare move to have a story focus more on hope within and after the horror, and Gyuri's last words, "...if I don't forget them..." ring very true. Sometimes, the only way to truly survive is to do the unthinkable: to forget and move on.