hindered by the fact that these works are very rarely screened. His 1989 film Jesus Christ's Horoscope was entered into the 16th Moscow International Film Festival. 1990s and 2000s In the early 1990s, Jancsó made two films that thematically can be grouped with the works from the 1980s, God Walks Backwards (Isten hátrafelé megy, 1990) and Blue Danube Waltz (Kék Duna keringő, 1991). Although they continue the work of the previous decade, they are also reactions to the Hungary's new post-Communist reality and explore the inherent power struggles. After a long break from making full-length features, Jancsó returned with The Lord's Lantern in Budapest (Nekem lámpást adott kezembe az Úr Pesten, 1999), which proved to be a surprising come-back for the director. The film largely (but not entirely) dispenses with long takes and choreographed camera movements, and for this Jancsó started working with a new director-of-photography Ferenc Grunwalsky (who is also a director in his own right). The loose plot follows two gravediggers Pepe and Kapa as they try to make sense of the shifting realities of post-Communist Budapest. Despite mocking young Hungarians for their shallowness, the film proved a minor hit with them, helped by the performances by some of Hungary's top music acts in the film. In the late 1990s, Jancsó's career revived with a series of improvised low-budget films that were witty and self-deprecating. As well as doing relatively well at the Hungarian box office for art house fare, these films have been popular with a new generation of younger viewers. The success of The Lord's Lantern in Budapest has led to a succession of Pepe and Kapa films (six so far, the last in 2006 at the age of 85). Although all of these films are rooted in the present, recent ones have also seen Jancsó return to his earlier love of historical themes, including depictions of the Holocaust and Hungary's devastating defeat to the Ottomans in 1526, usually in the context of criticizing Hungarians for not understanding the meaning of their own history. These films are highly popular among young cinephiles, mainly for the post-modernist, contemporary approach to filmmaking, the black, absurd humor and the appearance of several popular alternative and/or underground bands and persons. Jancsó has also cemented his reputation by making appearances in a number of films. As well as appearing as himself in the Pepe and Kapa films, he has also had