about us

The concept of Non Lieu – 'non-place' – became significant in response to the cultural vacuum that emerged in Hungary and shaped the artistic community that interprets and defines the world around them through the neologism (Non Lieu) coined by philosopher Marc Augé. The tension between extremes, division, and a polarized society characterize the oversaturated, burnout-driven existential experience of the 21st century. The creators primarily use the language of moving images to express and comprehend this state of society.

Our main goal is to support the arts, not only as creative contributors but also as enablers of financial opportunities. We reinvest the profits from our for-profit activities into our artistic projects.

Ars Poetica

Marc Augé called non-place those spaces – the motorway, the airport lounge, the shopping mall, the call center – that grant no identity, no relation, no history: only passage. We chose this name because the cultural vacuum we work within, here at home, is much the same: an unmarked, uncharted, largely invisible space in which people nevertheless live, create, and try to find their bearings.

The 21st century is not defined by scarcity but by excess. Too many images, too many stimuli, too many opinions – and out of this comes the burnout, the saturation, that has become a baseline experience for so many. Alongside it stands a divided society, stretched between extremes, in which a common language grows harder to find by the day. We don't want to look away from this condition; we want to speak it and work through it in the language of moving images – because we believe film can do what the opposing sides of an argument rarely manage: hold the gaze still, and give understanding time to happen.

That is why we are drawn not to some exotic elsewhere, but to our own era and our own surroundings: to what is happening to us, here and now, in Hungary and Europe. We are not looking, with the camera, for the old places already saturated with meaning; we are looking for the in-between condition in which an entire generation lives out its everyday life – overloaded, divided, and still longing for connection.

What we do might be called an ethnology of solitude: we watch the lost, the transient, the burnt-out person not because they are exotic, but because that person is us. For us, the camera is the instrument through which this anonymous, divided, overloaded space can become, for the length of a film at least, a place: one with a face, a voice, and a connection.