The most problematic aspect of Zsolt Kézdi-Kovács's films is the political motif of The Right to Hope, which is incomprehensible from a child's point of view and therefore disrupts the unified soul. The film works just as well without it, and it really works without the element of logical incoherence it introduces into the story. All of this highlights a directorial virtue that was rare in this period. Zsolt Kézdi-Kovács is able to dramatise personal conflicts that arise purely from within.