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Tuesday, After Christmas (2010)
"Marti, dupa craciun" (original title)

 -  Drama | Romance  -  25 May 2011 (USA)
7.0
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Ratings: 7.0/10 from 2,795 users   Metascore: 81/100
Reviews: 12 user | 71 critic | 11 from Metacritic.com

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.

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(screenplay), (screenplay), 1 more credit »
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Title: Tuesday, After Christmas (2010)

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Cast

Cast overview:
Mimi Branescu ...
Paul Hanganu
Mirela Oprisor ...
Adriana Hanganu
...
Raluca
Victor Rebengiuc ...
Nucu
...
Cristi
Dana Dembinski Medeleanu
Silvia Nastase
Adrian Vancica
Ioana Blaj
Edit

Storyline

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.

Add Full Plot | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Details

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Release Date:

25 May 2011 (USA)  »

Also Known As:

Marti, dupa craciun  »

Box Office

Opening Weekend:

$6,472 (USA) (27 May 2011)

Gross:

$25,866 (USA) (2 September 2011)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Mirela Oprisor (Adriana) is the wife of Mimi Branescu (Paul) and Maria Popistasu (Raluca) is the wife of Alexandru Baciu (screenplay). See more »

Goofs

When Paul drives his daughter to the dentist, and Adriana calls, he says he is going to Hala Traian, but he was driving the car on Magheru, from University towards Piata Roamana, the opposite way to Hala Traian. See more »

Connections

References The Hours (2002) See more »

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User Reviews

Your Citroen is waiting
20 October 2012 | by (Wallis and Futuna) – See all my reviews

The guy drives a late-model Citroen station wagon. Which probably belongs to the director. This is a big difference from trundling around in a 30 year old Dacia. I say this up front because this actually says a lot about the whole film.

A lot of Romanian commentators on Romanian films on this site complain that the "new wave" has focused too much on the dark underbelly of the nation. This film feels like a response to that. It's a film by yuppies about yuppies who could be from anywhere in Europe. The New York Times is practically gasping in relief, because that makes it so much easier to relate to than those awkward poverty films.

"Solidly" middle class my foot. What a repulsive code phrase. These are wealthy people, in Romania. This director, who apparently comes out of advertising, seems to want to carve out a niche making self-obsessed art movies for upper-class western European audiences. Well knock yourself out, Mr Muntean.

Now, when you take the Romania out of the new wave and make it generic and wealthy, there's not much there. Sorry. I could squint and pretend they're speaking Italian and I would have pressed stop on this boring film 30 minutes in. The characters keep stating the prices of things (braces, 2500 Euros, gifts, 3000 Euros, flashing their iphones just like people in NY do) to establish how not-poor this family is. OK, OK, I get it. I'm watching a guy who works in investment banking and drives a brand new $30k car, and my sympathy is whithering fast.

That said, the Romanians have a way of treating the banal as if they just invented it, and it's something fascinating and new. It is real, and very well put together, and the filmmakers clearly care about it -- it's not boring because of a bad script. Still, this film is making me really worried that the last drops of blood are draining out of this Cannes-slaying animal, the Romanian bleak-wave cottage-industry.

I did appreciate the credibility of the adultery story. The wife is not old, nagging, and detached. The mistress is not really young, hot, and exciting. The husband is not really in love with the mistress. It's a story of cheating and making rash decisions in the stress of the holidays out of boredom and hopelessness. This is realistic but not real illuminating.

The mistress in this film is getting "something" from carrying on an affair with a married man. But is it what she deserves, is it the best use of her time? I'm looking at my watch and feeling the same way about this film.


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