An offering created in meditation through the power of mantras and prayer.
As our beloved Lama Ole Nydahl rests in deep peace, radiating strength even as his physical presence fades, we hold the space for him and all sentient beings.
May the light of the Diamond Mind remain boundless. ๐
Tsewang Dorje
An Attempt to Interpret a Personal Experience
On July 13, 2026, in Budapest’s Rรณzsรกk tere (Square of Roses), I captured a photograph that became a significant milestone in a spiritual process years in the making.
This square is a profound spiritual intersection. Even Pope Francis visited the site to meet with the poor and refugees. It serves as a literal crossroads of faiths: at its center stands the neo-Gothic Church of St. Elizabeth of the House of รrpรกd, neighboring a Greek Catholic Church. The square also hosts the Diamond Way Buddhist Community center.
Running through it is Dohรกny Street, which anchors the Great Synagogue at one end and a smaller synagogue at the other, while the Fasori Lutheran Secondary School dormitory also stands on the square.
For years, I have experienced phenomena that, for me, go beyond simple coincidence. I see formations in the clouds recurring “profiles” that do not feel random. I document these regularly, alongside daily synchronicities: repeating numbers, specific timings, and events that seem to align with an unusual precision.
At a certain point, these experiences began to enter into a dialogue with my earlier research.
Years ago, I encountered the work of James D. Tabor, an internationally recognized biblical scholar at the University of North Carolina, who for decades conducted archaeological research in Israel. His work opened for me the world of early Christianity and Second Temple Judaism in a way that felt alive and immediate.
His book The Jesus Dynasty was not just historical reading it became a doorway.
Alongside this, the investigations of Simcha Jacobovici, especially his documentaries on the Talpiot Tomb deepened this path further. What began as intellectual curiosity slowly became something personal. This eventually led me to Jerusalem, where I visited the Talpiot Tomb myself.
A Dialogue with Ancient Texts
The “double profile” I observed in the clouds did not appear in isolation. It resonated with something I had encountered years before in ancient texts.
In the Parables of Enoch (1 Enoch 37–71), the figure of the “Son of Man” emerges with striking clarity far beyond a simple human figure.
Pre-existence (1 Enoch 48:2–3):
“Before the sun and the signs were created… his name was named before the Lord of Spirits.”
Light of the nations (1 Enoch 48:4):
“He will be a light to the nations… and a hope to those who are troubled in heart.”
The throne of glory (1 Enoch 62:2,5):
“The Lord of Spirits seated him on the throne of his glory…”
“…and fear shall seize them when they see the Son of Man sitting on the throne of his glory.”
Communion with the righteous (1 Enoch 62:13–14):
“…they shall dwell with that Son of Man… and eat and lie down and rise with him forever.”
Bearer of hidden wisdom (1 Enoch 49:3–4):
“In him dwells the spirit of wisdom… and he will judge the hidden things.”
These passages feel astonishingly close to the New Testament image of the glorified Christ.
In the Book of Daniel (Daniel 7:9–14), the vision appears in a more primordial form:
“His clothing was white as snow, and the hair of his head like pure wool…” (Ancient of Days)
“And behold, with the clouds of heaven there came one like a son of man…”
Here, the “Son of Man” approaches the “Ancient of Days.”
But in Enoch, he is already beside Him—enthroned, judging, eternal.
This same imagery reappears in the words of Jesus:
“When the Son of Man comes in his glory… then he will sit on his glorious throne.” (Matthew 25:31)
The parallels are too strong to ignore.
A Wider Tradition
The “Son of Man” is not limited to a single text.
It appears across ancient Jewish tradition:
In 1 Enoch: a pre-existent, heavenly judge
In 4 Ezra (2 Esdras) 13: a figure rising from the sea, “like a man,” destroying armies and gathering the people
In the Dead Sea Scrolls: fragments reflecting similar messianic expectations
In later rabbinic tradition: often identified with the coming Messiah
Between Daniel and Enoch, something shifts.
In Daniel, the figure receives authority.
In Enoch, he already possesses it.
The Image Itself
In the photograph I took, two profiles appear:
An older, bearded figure, with closed or withdrawn expression
A younger Son of Man beside it
This immediately brought to mind the central scene of Daniel 7 and the Enochic visions:
The Ancient of Days: “hair like pure wool” (Daniel 7:9)
The Son of Man: present beside Him (1 Enoch 46:1)
The contrast is striking:
Hidden vs. revealed
Silent vs. speaking
Transcendent vs. relational
The closed eye of the older figure feels like mystery depth, hiddenness.
The younger profile seems to face outward toward humanity.
The Prophecy and the Mystery of Identity
The figure of the Son of Man originates in the Book of Daniel (Chapter 7) and is expanded upon in the Book of Enoch ancient texts that Jesus himself almost certainly studied and referenced. In these visions, the Son of Man is a cosmic judge who appears alongside the Ancient of Days.
From a prophetic perspective, the appearance of these two figures together, whether as a vision or a sign represents the fulfillment of these ancient descriptions, regardless of the specific identity of the figure. While Christian tradition identifies the Son of Man as Jesus appearing with the Father, the ancient texts maintain a certain mystery:
In the Book of Enoch, the "Son of Man" is sometimes revealed to be the patriarch Enoch himself, elevated to a divine status as a heavenly scribe and judge.
In Daniel, the figure is "one like a son of man," appearing as a symbolic representative of the righteous who receives an eternal kingdom.
This means that the "vision" or "sign" of the double profile fulfills the structure of the prophecy itself. It depicts a divine hierarchy where a visible, human-like Savior acts in unison with the invisible, eternal Source. Even if the exact identity of the Messiah remains a point of theological debate or a "hidden" mystery, the pattern of their joint appearance serves as a sign that the era of judgment and revelation as foretold by the prophets is present and active.
Synchronicity
At this point, I cannot ignore the idea of synchronicity as described by Carl Gustav Jung. These are not just coincidences, but meaningful alignments inner and outer events reflecting one another. The image, the date, the texts, the earlier research, the journey to Jerusalem they do not feel causally connected.
And yet, they form a pattern.
The Spiritual Weight of the Moment
July 13 carries its own resonance:
The third apparition at Fรกtima in 1917
The tradition of the Archangel Gabriel as messenger
The Jewish period of mourning in Tammuz
These layers do not explain the experience but they deepen it.
Visual Theology
What appeared in the clouds felt like a form of “visual theology.”
A living image of something ancient:
The unity and distinction between:
the hidden source (Ancient of Days)
and the revealed presence (Son of Man)
Not as doctrine, but as image.
Not as proof, but as encounter.
From Seeing to Creating
This process did not remain external.
Through meditation and automatic painting, I began to create. Figures emerged without intention forms that echoed biblical imagery. These works feel less like drawings and more like traces of something unfolding internally.
An Open Question:
I do not claim certainty.
There is always the possibility of pareidolia.
There is always the psychological explanation.
But something remains.
A question:
Is it possible that the same patterns described in ancient texts are not locked in the past but can still appear, in symbolic form, in the present?
Not because history repeats itself, but because the structure of perception and perhaps something beyond it remains the same.
The photograph I took at Rรณzsรกk tere is not proof.
It is a sign.
A moment where something ancient seemed to look back.
Today is Palm Sunday.
Today is Palm Sunday, a day that historically marks the humble entry of the King of Peace into Jerusalem. Yet today, Israel is shrouded in the darkness of war. The sacred sites, usually echoing with the footsteps of pilgrims, stand silent and closed.
Zechariah 9:9 is a pivotal Messianic prophecy in the Hebrew Bible that describes the humble arrival of a righteous king to Jerusalem. It is most famous for its New Testament fulfillment during Jesus' "Triumphal Entry" into Jerusalem on Palm Sunday.
Interpretations
Christian Interpretation: Viewed as a direct prophecy of Jesus Christ. Matthew (21:4–5) and John (12:14–15) explicitly quote this verse to explain why Jesus rode a donkey into Jerusalem.
It highlights the "already but not yet" nature of his kingdom: he has come in humility (v. 9), but his universal reign of peace (v. 10) is still anticipated.
Jewish Interpretation: Traditionally understood as referring to the Messiah ben David. The Talmud (Sanhedrin 98a) notes that if Israel is worthy, the Messiah will come with the "clouds of heaven," but if unworthy, he comes "lowly and riding upon a donkey".
Some modern Jewish critiques argue the prophecy remains unfulfilled because universal world peace has not yet been established
Sefaria
Zechariah 9:9 / ืืืจืื ื׳:ื׳
ืִּืืִ֨ื ืְืֹ֜ื ืַּืช־ืฆִืּ֗ืֹื ืָืจִ֙ืืขִื֙ ืַּืช־ืְืจืּืฉָׁืִַ֔ื ืִื ֵּ֤ื ืַืְืֵּืְ֙ ืָ֣ืืֹื ืָ֔ืְ ืฆַืִּ֥ืืง ืְื ืֹืฉָׁ֖ืข ื֑ืּื ืขָื ִื֙ ืְืจֹืֵ֣ื ืขַื־ืֲื֔ืֹืจ ืְืขַื־ืขֳַืִืจ ืֶּื־ืֲืชֹื ֽืֹ׃
Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem; behold, thy king cometh unto thee; he is triumphant, and victorious, lowly, and riding upon an ass, even upon a colt the foal of a she-ass.
In the Sefaria system (and the JPS translation it uses), the term "she-ass" is the formal equivalent for a "jenny" (a female donkey), while "ayir" is translated as "colt" or "jackass" (a young male donkey).
Rashi’s Commentary on Zachariah 9:9
ืืืื ืืื. ื"ื ืืคืชืืจ ืืืงืจื ืืื ืืื ืขื ืืื
ืืืฉืื ืฉื ืืืจ ืืืฉืื ืืื ืขื ืื ืืื ืืฆืื ื ืืืฉื ืืื ืืืฉืจืื ืืืื ืืืช ืฉื ื:
Rejoice greatly. It is impossible to interpret this verse except as referring to the Messianic King, for it is said: "And his dominion shall be from sea to sea," and we do not find such a ruler in Israel during the days of the Second Temple.
ืขื ื ืืจืืื ืขื ืืืืจ. ืืืืช ืขื ืื:
Lowly and riding upon an ass. Out of a sense of humility.
New testament
The Gospel of Matthew (21:1–7)
The Gospel of John (12:12–16)
The Coming King of Zion
Rejoice greatly, O daughter of Zion!
Shout aloud, O daughter of Jerusalem!
Behold, your king is coming to you; righteous and having salvation is he, humble and mounted on a donkey, on a colt, the foal of a donkey.
No red carpets, No popcorn
Az Unspoken Cinema blogon olvashatรณ Benoit Rouille รญrรกsa a filmrลl.
Bรฉla Tarr emlรฉkรฉre, 1955–2026.
A mester emlรฉke elลtt adรณzva a film most egyben, ingyenesen megtekinthetล.
---
Benoit Rouille’s piece on the film can be found on the Unspoken Cinema blog.
In memory of Bรฉla Tarr, 1955–2026.
In tribute to the master’s memory.
https://unspokencinema.blogspot.com/2026/02/hamvas-bela-street-11-janos-kis.html
Hamvas Bรฉla รบt 11" is a meditative journey, filmed a few years ago and later shaped in honor of Bรฉla Tarr’s 70th birthday. It stands as a bridge between two timeless seekers of truth, Bรฉla Hamvas the philosopher of the word, and Bรฉla Tarr, the poet of cinema.
#unspokencinema #slowcinema #durationalcinema #experimental #undergroundcinema #avant-garde #cinema #janoskis #belatarr
Hamvas Bรฉla รบt 11. (dir. Jรกnos Kis) occupies a singular position within the tradition of transcendental cinema, exemplifying Paul Schrader’s theory of the “withholding” function through extreme durational shots, formal austerity, and perceptual discipline. Shot nearly a decade ago but only completed in 2025 to coincide with Bรฉla Tarr’s seventieth birthday, the film was realized when Kis, who spent the last twenty years primarily in Cambodia, temporarily relocated to Budapest during the COVID-19 pandemic. Utilizing on-location natural light and ambient sound, and produced entirely on a zero budget, the film captures the material and temporal textures of a decaying socialist panel housing estate with remarkable immediacy.
The narrative unfolds across eight long, static shots, a few lasting roughly seven minutes, immersing the viewer in domestic gestures while subordinating conventional plot.
Richรกrd Borbรกs former scholarship recipient at the Hebrew University of Jerusalem and the Central European University (CEU) inhabits the protagonist with quiet intensity, conveying intellectual depth, patience, and resilience, rendering the minutiae of daily life profoundly expressive.
The film opens with the upper floors of a prefabricated panel block, platick bags drying on the top-floor balcony, and neighboring windows slightly ajar. Ambient street noise, distant conversation, and the creaks of the aging lift establish a sonic environment that extends beyond the frame. Inside the apartment, the protagonist performs a series of ritualized domestic gestures: boiling water, setting the table, preparing instant noodles, and waiting for the steaming, spicy meal to become ready. He alternates between contemplation and listening to a pre-set radio tuned to classical music and jazz, framing both the act of consumption and attention.
He steps onto the balcony, gazing outward across the panel estate toward the distant Statue of Liberty atop the Citadel, the massive housing complex unfolding like a forest of anonymous yet inhabited spaces. This visual field emphasizes both the isolation and embeddedness of human life within collective architecture, echoing Schrader’s notion of “everydayness” and “disparity.” The protagonist then descends to dispose of trash in the chute, locking both the apartment and chute doors with deliberate care bordering on paranoia, gestures that mark the precariousness of dwelling. Returning to the apartment, he reads in bed, while off-screen sounds the flushing of a toilet, muffled sink activity suggest a cohabiting roommate never visually represented.
The film’s attention to extended, minimal domestic actions recalls Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, yet Kis further evacuates narrative motivation, allowing routine to unfold as pure temporal endurance. The closing image of the panel estate at night presents apartment windows as cages containing a diverse cross-section of society workers, artists, teachers, students, and multiple ethnicities each inhabiting a precarious existence. The soaring rental costs and uncertain housing market render life tenuous, yet human perseverance, dignity, and attentiveness remain evident.
Through Borbรกs’s semi-controlled performance, zero-budget aesthetics, natural lighting, and diegetic sound, Hamvas Bรฉla รบt 11. enacts Schrader’s concept of stasis: transcendence is neither depicted nor narrated, but realized through sustained observation of duration, silence, and repetition, transforming the banal and quotidian into a site of contemplative, ethical, and perceptually rigorous cinema.
The film is currently available through the Octopus Marquee Independent Film Festival until the end of January 2026.
#schroder #paulschroder #transcendetal #cinema #slowcinema #unspokencinema #avantgarde #experimental #underground #kรญsรฉrleti #film #janoskish #belatarr #stasis #durational #contemplative
A 2025-รถs Budapesti Nemzetkรถzi Filmfesztivรกlon (BIFF) ott voltam amikor Tarr Bรฉla szรญnpadra lรฉpett, hogy bemutasson egy meglepetรฉsfilmet: korรกbbi tanรญtvรกnya, Oda Kaori Cenote cรญmลฑ alkotรกsรกt.
Ez volt egyik utolsรณ nyilvรกnos megjelenรฉse, ahol Tarr nem csupรกn egy filmet konferรกlt fel, hanem ahogy szokta volt az emberi mรฉltรณsรกg fontossรกgรกrรณl is ejtett pรกr szรณt. Emlรฉkeztetett minket, hogy a filmmลฑvรฉszet erkรถlcsi felelลssรฉg, valamint egy mรณdja annak, hogy rendรญthetetlen empรกtiรกval รฉs igazsรกggal tekintsรผnk a vilรกgra. Most, 2026-ban visszagondolva rรก, jelenlรฉte a Corvin moziban mentoriszerepรฉnek รฉs lรกtnoki erejรฉnek รถrรถk mementรณja marad.
Tarr Bรฉla emlรฉke elลtt tisztelegve kรฉt filmemet is az ล emlรฉkรฉnek ajรกnlottam: az Under the Burning Sun-t รฉs a Hamvas Bรฉla รบt 11.-et.
Ez utรณbbi, a Hamvas Bรฉla รบt 11., az Octopus Marque Filmfesztivรกl keretรฉben mรฉg nรฉhรกny napig online is megtekinthetล, ahol a contemplative octopus kategรณriรกjรกban szavazatotokkal tรกmogathatjรกtok is az alkotรกst.
https://www.facebook.com/share/p/1AZ1XpSdoh/
Ezek a mลฑvek fลhajtรกskรฉnt รกllnak az elลtt az ember elลtt, aki megtanรญtotta nekรผnk, hogy a filmmลฑvรฉszet vรฉgsล mรฉrcรฉje az emberi mรฉltรณsรกg.
At the 2025 Budapest International Film Festival (BIFF), the legendary Bรฉla Tarr graced the stage to present a special surprise screening: Cenote by his former student, Kaori Oda.
In what would become one of his final public appearances, Tarr did not just introduce a film; he championed the essence of human dignity. He reminded us that cinema is a moral responsibility a way to look at the world with unwavering empathy and truth. As we remember him in 2026, his presence at the Corvin Cinema remains a testament to his role as a mentor and a visionary.
In a heartfelt homage to Bรฉla Tarr, I have dedicated two of my films to his memory: 'Under the Burning Sun' and 'Hamvas Bรฉla รบt 11.'
The latter, 'Hamvas Bรฉla รบt 11.', is currently available to watch online for a few more days as part of the Octopus Marque Film Festival, where you can also cast your vote to support the work.
https://www.facebook.com/share/p/1AZ1XpSdoh/
These works stand as a tribute to the man who taught us that human dignity is the ultimate measure of cinema
May he rest in peace. His vision remains eternal.
Jรณ utat MESTER!
#belatarr #tarrbela #filmszemle #satantango #turinhorse
I am currently seeking international publishers for my comedy novel, Dick Monday’s Tokyo Adventures, in English, French, German, Spanish, Japanese, and Chinese.
I am also open to discussions regarding the acquisition of full film rights. Please contact me if interested.
https://www.libri.hu/konyv/bergman_kichiro.dick-monday-tokioi-kalandjai.html
One Robe. One Joint. One Hell of a Ride.
Dick Monday is your average, absent-minded New York clerk, until the day he accidentally locks himself out of his apartment wearing nothing but a bathrobe. His simple mission to grab a spare key from his ex-girlfriend takes a surreal turn when he hitches a ride with an Indian cabbie whose stash is a little too potent.
One cloud of smoke later, Dick's "quick errand" becomes an international odyssey.
After missing his flight to India and landing in the neon heart of Tokyo, Dick falls in with a bizarre pasta tycoon and finds himself soaking in hot tubs with the Yakuza. From the kitschy rooms of an Elvis-themed Love Hotel to a wild, midnight initiation in the back of a hearse, Dick Monday is about to find out that sometimes you have to lose your keys and your mind to find your destiny.
#book #acquisition #comedy #novel #film #movie #newyork #tokyo #kรถnyv
Establishing a film industry in Cambodia was a special concern for King Sihanouk. He made all together almost 50 fiction and docum...
