Instead of accepting the ill-advised impulse to travel half the world for a spontaneous date with a stranger, Márta searches for János, only to learn that he doesn’t recognize her. In fact, he has no memory of ever meeting her. As if haunted by an apparition, Márta begins to see it everywhere and begins to doubt his sanity. The puzzling plot of the film then bends in such a way as to make Christopher Nolan salivate, but which unfolds with a narrative elegance that keeps him anchored.
As he leads us down confusing roads, “Preparations” shapes the stoic expression of Stork, a perpetual face of poker, like a barrier protecting his inner world. But rather than generating disinterest, her emotionless state allows the film to only reveal her twists in small doses as she tries to rationalize them. Obsessed with the idea of objectively knowing whether János’ dismissal means a hurtful betrayal on his part or a symptom of a pathology that afflicts him, Márta manages to live and work as close as possible to him.
Márta soon settles into a new job at a local hospital and it is obvious that she is not welcome. However, this puts her in direct contact with János and her colleagues, and she redoubles her efforts to unmask him and unveil what she believes is an attempt to bring her to light. The post also brings in another younger suitor Alex (Benett Vilmányi), whose appeal seems mostly tied to his profession. She is aggressively courted by a medical student.
While Mara shares with her therapist the possibility that she could have built this romantic castle in the sky, Horvát films Márta from different angles that perhaps indicate a change in personality, as if it involves a break in Márta’s psyche. . The spaces Márta interacts with further corroborate the director’s desire to confuse viewers, with spiral staircases and curving hallways that exemplify cinematographer Róbert Maly’s visual representation of the mind’s intricate web of thoughts.