Mr. Lazarescu, a 63 year old lonely man feels sick and calls the ambulance. When it arrives, the paramedic decides he should take him to the hospital but once there they decide to send him ... See full summary »
Out of enthusiasm, a Militia soldier abandons his platoon and decides to fight for the cause of the Revolution. His Lieutenant and the rest of the crew look for him during the confused night of 22-23 December 1989.
On his spring break at the seaside, with his wife and his four year old son, Bogdan Ciocazanu runs into his best friends from high-school at the precise date and time that reminds all of ... See full summary »
It's the 22nd of December. Sixteen years have passed since the revolution, and in a small town Christmas is about to come. Piscoci, an old retired man is preparing for another Christmas ... See full summary »
In a small isolated village, in 1953, a wedding is interrupted by the news about the death of Stalin. Because any public celebration is forbidden, they decide to turn the happy event into a silent wedding.
Meda Andreea Victor,
Paul Hanganu loves two women. Adriana his wife and the mother of their daughter, the woman with whom he's shared the thrills of the past ten years, and Raluca the woman who has made him redefine himself. He has to leave one of them before Christmas.
I love Kieslowski's films of morally compromised lives in communist Poland. But communist Poland was never half as scary as Ceacescu's 'Golden Age' in Romania, which is perhaps why it's only now that Romanain cinema appears to be enjoying it's own golden era, with many great films looking back at the dictatorship and its legacy. Chris Mungiu's 'Four Months, Three Weeks and Two Days' is perhaps the finest of them; here he has scripted a bunch of illustrative (and not necessarily so tall) tales, which are directed by himself and a number of collaborators (though who produced which episode is not acknowledged). In some ways, the first tale (about an official visit) is almost unbeatable, a black comedy that had me laughing out loud; the last (about a couple of bottle-stealers) has the most obvious stylistic echoes of Mungiu's own work. But all of them capture the mixture of poverty, deference, fear and, paradoxically, individual selfishness, that characterised life under communism. The stories are superficially slight, but the smallest of transgressions carry grotesquely exaggerated weight Bitter wryness and naturalistic acting, camera work and dialogue, mark the films as a whole: a highly recommended set.
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