shot with cinematographer János Kende and was co-written by Gyula Hernádi and Jancsó. Also in 1968, Jancsó shot his first work in color, The Confrontation (Fényes szelek, 1969). It also was the first film to introduce song and dance as an essential part of the film, elements that would become increasingly important in his work of the 1970s and his recent Pepe and Kapa films. The film stars Andrea Drahota, Kati Kovács and Lajos Balázsovits. The film revolves around real events that took place when Hungary attempted to renovate its education system after the Communists came to power in 1947. In the film revolutionary students from one of the communist People's Colleges start a campaign to win over students from an older Catholic college. The campaign begins with songs and slogans, but eventually turns to violence and book burning. Jancsó ended the decade with Sirokkó (Winter Wind) in 1969. The film starred Jacques Charrier, Marina Vlady, Ewa Swann, József Madaras, István Bujtor, György Bánffy and Philippe March. Jancsó and Hernádi wrote the script in collaboration with Francis Girod and Jacques Rouffio. The film depicts a group of Croat anarchists in the 1930s who plot to assassinate King Alexander I of Yugoslavia. 1970s In the late 1960s, Jancsó's films veered more towards symbolism, the takes became longer and the visual choreography became more elaborate. This found full fruition in the 1970s, when he took these elements to extremes. With regards shot-length, for example, Elektreia (Szerelmem, Elektra, 1974) consists of just 12 shots in a film lasting 70 minutes. This highly stylized approach (in contrast to the more realist approach of the 1960s) received widest acclaim with Red Psalm (Még kér a nép, 1971), which won Jancsó the Best Director award at Cannes in 1972. Like The Round-Up, Red Psalm focuses on a doomed uprising. In the latter part of the 1970s, Jancsó started work on the ambitious Vitam et sanguinem trilogy, but only the first two films, Hungarian Rhapsody (Magyar rapszódia, 1978) and Allegro Barbaro (1978) were made as critical reaction was muted. At the time, the films were the most expensive to have been produced in Hungary. During the 1970s, Jancsó divided his time between Italy and Hungary and made a number of films in Italy, the best known of which is Private Vices, Public Virtues (Vizi privati, pubbliche virtù, 1975), an interpretation of the Mayerling affair. His Italian films,