Tabooed, unspoken stories are revealed in 1989 - including the secret, unmarked graves of the martyrs fighting for the revolution of ‘56. Dozens of families are going through the hardships of the exhumation and identifying of their loved ones.
Two women are standing next to a grave, mourning the same man: the wife and the lover. The once loved individual’s remains makes the widows face their own pasts, never outspoken emotions, secrets, with pain and passion. How many kinds of remembrances are there? In how many ways can the tales of the unspeakable be told, when private stories are being strangled by political games in front of the public?
The Nation’s Widow is not a documentary drama, it rather builds up a fictive world based on elements of reality, presents archetypal figures, and in its focus stands the remembrance of Hungarian history. In the middle of it there are those left behind, those carrying the weight of the past, the widows, the children and through them the descendants: ourselves.
