I am seriously ludicrous

Stories from the night straddling the border of reason. Both rationally and somewhat less rationally. An amusement spot, amusement-seekers, and one who is lost. Plus a chained bicycle. Especially the bicycle, which raises plenty of questions. Whose is it? How long has it been here? And how did it get here, anyway? What is this, after all? A drama, a crime story, perhaps a thriller? For the moment, it is not completely clear – not even for Márton Horváth, who is off to meet his wife, but he will never arrive. He gets swept away by the night’s peculiar dynamics… Can a (long-lost) bicycle turn our life upside down? What does it take to get us off the beaten path? And, ultimately, what is to become of Márton Horváth’s wife?

These are short stories by Gábor Reisz, staged by the author. The director’s first involvement with Proton Theatre and with theatre in general. Tiny events from everyday life and their effect on our lives; that is, the essence lies in the detail.

"Gábor Reisz’s view of the world has only appeared on the cinema screen up until this past summer, when the Proton Theatre produced a production of his short stories. The performance I’m Seriously Ludicrous is a genuine Gábor Reisz piece to its core; still, it is perhaps his best work to date." (Emma Rosznáky Varga - ART7)

"Although there is literally no stage in the performance, Reisz has a genuine feeling for the stage. He guides and misdirects the audience’s attention perfectly, mixes the dramaturgical proportions amazingly well, and even gives the audience some short periods to rest. We don’t need to make an effort to follow the plot, but, at the same time, we aren’t bored for a minute." (Zsófia Molnár - Élet és Irodalom)

"The actual main motif of the production, the case of Márton Horváth with the stolen bicycle, is elaborate and sufficiently fragmented. Also, the main theme reappears at a perfect place at the perfect time. Zoltán Friedenthal, in the role of Horváth, has the means and is given the relative amount of time to build up his character with meticulous care, and he does so with well-chosen techniques." (Csaba Kutszegi - KútszéliStílus.hu)

"We see loosely connected scenes linked by one common location: the pub. The creators have not changed anything in the interior of the café, so the audience does not feel as though they are watching a theatre performance, but just observing the familiar moments of nightlife around them. The drunken philosophizing, soul-searching, speakers enlightened by the intake of alcohol, and desperate attempts to find a mate. (...) In Reisz's previous films (For Some Inexplicable Reason and Bad Poems), we have seen similar nocturnal scenes, where he simultaneously highlights the disturbing presence of background noise and amplifies the inner thoughts of a character. We see the hopelessness of social loneliness, the emptiness of seemingly endless Friday nights, and the fatigue of trying to make human connections." (Panka Sándor - Magyar Narancs)