Commencing with an elegant pairing of a stag and doe; roaming in pure, redolent silence, caressed by nature’s virgin splendor, an Adam and Eve joined forever in a solitude so magnificent and profound, it aches.
Writer/director Ildiko Enyeid then poll vaults the viewer to a slaughterhouse where bovine beauties meet their bloody fate; wrenching cries, soulful eyes plead for mercy; helpless, (even carnivores) will cringe as the carnage is savagely, legitimately initiated; untoward intimacy between man and mammal flirts with the illegal.
Enyeid introduces us to two physically and psychologically flawed employees of the slaughterhouse: “Endre” (immaculate performance by Geza Morcsany) whose disabled left harm does not hinder his duties as CFO; “Maria” (shockingly stunning depiction by Alexandra Borbely) newly employed, robotic, OCD, meat inspector; cauterized, stunted, incapable of normal human emotions. Because of a theft in the plant the employees are interviewed by a psychologist who unearths the eerie fact that Endre and Maria share identical dreams. What evolves is a unique, innovative love story in competition with “The Shape of Water”.
“On Body and Soul” springs from an imagination whose fecundity embraces whimsy, reality, love, life, erasing the differences, highlighting the similarities between man and beast. Endre and Maria gift viewers an unimaginable interpretation of dreams, opening avenues of veracity, karmic visions, limitless possibilities, blissful conclusions.