though, have been critically derided. Unlike Jancsó's 1980s films, there has been no general critical reassessment of his Italian works and they remain the most obscure part of his filmography. 1980s Jancsó's 1980s films were not successful and at the time some critics accused Jancsó of simply rehashing visual and thematic elements from his previous films. However, more recently these works have been re-evaluated and some critics consider this period to contain Jancsó's most important works. The Tyrant's Heart (A zsarnok szíve, avagy Boccaccio Magyarországon, 1981) can be considered a transitional film between the famous historical works of the 1960s and '70s and Jancsó's later, more ironic and self-aware films. While it still has a historical setting (a 15th-century palace in Hungary), the film's ontological inquiry groups it more easily with the director's later period. The film deliberately undercuts the audience's ability to construct a notion of reality in the plot, which contradicts itself and includes many post-modern interventions to raise questions about its own manipulative nature. His 1985 film Dawn (A hajnal) was entered into the 36th Berlin International Film Festival. In 1987 he was a member of the jury at the 15th Moscow International Film Festival. Later in the decade, Jancsó dispensed with the historical rural settings of the Hungarian puszta and shifted to contemporary urban Budapest. Thus Season of Monsters (Szörnyek évadja, 1986) became the first Jancsó film with scenes in of contemporary Budapest since Cantata 23 years earlier. Although this film is set in a contemporary environment, very little of it is set in the city and much of it still on the puszta. While some new visual tropes were introduced (including a fascination with television screens that show clips of later or earlier action in the film), others, such as candles and naked women, were preserved. In later films of the decade Jancsó continued to use the surrealistic-parodistic style he developed in "Season". These films – at last – are set in an urban environment. Although some critics reacted positively (Season of Monsters, for example, won an honorable mention at Venice for creating "a new picture language"), critical reaction generally to these films was very harsh indeed, with some critics labeling them as self-parody. More recently, critics have been kinder to these dense and often deliberately obtuse films, with some considering his 1980s work to be his most compelling, but a full rehabilitation has been