8.2/10
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4 user 1 critic

Sundays on Leave (1993)

È pericoloso sporgersi (original title)
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1 win. See more awards »

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Cast

Cast overview, first billed only:
Nathalie Bonnifay ...
Cristina Burlacu
George Alexandru ...
Dinu Staroste
Marius Stanescu ...
Horatiu
Valentin Teodosiu ...
Jean
Florin Calinescu ...
Lt. Grecea
Liviu Topuzu ...
Minzatu
...
Vizante (as Marius Florea)
Marcela Motoc ...
Anemarie
Camelia Zorlescu ...
Physic Teacher
Rada Istrate ...
Romanian Teacher
Coca Bloos ...
Class Mqaster
Cerasela Stan ...
Barmaid
Laurentiu Curca ...
Student
Ionut Pohariu ...
Student
Cezar Boghina ...
Student
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Storyline

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Genres:

Comedy | Drama

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Details

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Release Date:

2 November 1994 (France)  »

Also Known As:

Don't Lean Out the Window  »

Filming Locations:


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Trivia

Presented in the 'Quinzaine des Réalisateurs' at the 46th Cannes International Film Festival in 1993. See more »

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User Reviews

 
One of the Top-Five Romanian movies.
9 February 2008 | by (Romania) – See all my reviews

Definitely, it's one of the best five Romanian movies ever made - together with "Forest of the Hanged", "Four Months, Three Weeks and Two Days", "Death of Mr. Lazarescu" and "12:08 - East of Bucharest". Incidentally, I was the second unit director of this movie, first time when the production started, only to be failed by the totally incompetent (AND ill-meant) producer Mircea Daneliuc, so I'm private to many off-stage facts and details. The military unit scenes are inspired by the true events of our own army service (Nae Caranfil's and mine), that we served in Caracal. Corporal Puscasu is a real person, and Lt. Grecea is loosely inspired by our commander, Lt. Burlacu. The exterior scenes of the theater were shot next to the real Popular Theater in Caracal, where we used to watch shows as soldiers, in conditions 100% similar to the ones you see in the movie. But, leaving apart all these anecdotal details, fact is that "E Pericoloso Sporgersi" depicts as none else the true atmosphere and mood of the Eighties' Romania, the gloom in the final years of communism, the subtle feelings of terror and paranoia, the apparent lack of any horizons - and, first and foremost, the specific Romanian ability to take refuge into jokes and humor. By all means, the international distribution didn't do justice to this movie. It's peer to Forman, Menzel, Szabo, Italian Neorealism, La Nouvelle Vague Française, the Free Cinema, Nikita Mikhalkov, Kontchalovsky, Ryazanov, and many others,


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