The movement of the mouth—symbolizing material existence—marks the beginning, as the lips transform into a loving pair. The two bodies unite within a grave mound, which is then absorbed by a radiant cross. The body lying on the bier attempts, with its hand, to free itself from the shroud pressing upon it. Meanwhile, a human figure approaches from the doorway; at this moment, the film abruptly halts and freezes into a still image.

For an instant, a kind of “relativistic parenthesis of time” occurs, as the frozen frame becomes overlaid with a mass of abstract forms. Within this space, an airplane passes across the scene, yet becomes stuck at the edge of the frame, transforming into a cross—still unable to proceed. All of this suggests that humanity’s technical and spiritual capacities are insufficient to break free from the finite condition into which it was born.

During this “parenthetical time,” something mysterious has taken place: the figure entering the chamber lifts the veil, only to reveal that the grave is empty—there is no one inside.

Echo was featured at numerous international festivals between 1992 and 1995, including in Montpellier, Ghent, Odense, Montecatini, Zagreb, and at the Hungarian Film Week.