Jancsó achieved international prominence from the mid-1960s onwards, with works including The Round-Up (Szegénylegények, 1965), The Red and the White (Csillagosok, katonák, 1967), and Red Psalm (Még kér a nép, 1971).
Jancsó's films are characterized by visual stylization, elegantly choreographed shots, long takes, historical periods, rural settings, and a lack of psychoanalyzing. A frequent theme of his films is the abuse of power. His works are often allegorical commentaries on Hungary under Communism and the Soviet occupation, although some critics prefer to stress the universal dimensions of Jancsó's explorations. Towards the end of the 1960s and especially into the 1970s, Jancsó's work became increasingly stylized and overtly symbolic.