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 »
Seeing a way to reassert control over her adult son's life when he faces manslaughter charges, an affluent Romanian woman sets out on a campaign of emotional and social manipulation to keep... See full summary »
An apartment kitchen: a man and a woman discuss Little Red Riding Hood, their voices hushed, mindful of waking the little girl sleeping next room. Waste land on the city outskirts: behind a... 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.
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 »
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.
Occident is a bittersweet comedy that focuses on the growing tendency of Eastern European youth to migrate west. When the amicable Luci (Alexandru Papadopol) and his beautiful lover Sorina ... See full summary »
Alina and Voichita have been friends since their orphanage days. And they have been lovers since they became sexually mature. But despite their oath of mutual fidelity, Alina, who could not bear poverty any more, emigrated to Germany where she became a barmaid. Now she just could not take the estrangement from Voichita and today she is back to Romania with a view to taking Voichita along with her to Germany. The only trouble is that in the meantime her girlfriend has betrayed her in falling in love with... God! Voichita indeed now lives in a convent where she plans to make vows. The priest agrees, if somewhat reluctantly, to accommodate Alina before their (hypothetical) departure. He sees all too well that not only is the young woman materialistic but hostile and troublesome as well... Written by
A KVIFF viewing of Romanian auteur Cristian Mugiu's latest gripping modern exorcism tale which has garnered two wins in Cannes this year, a BEST SCREENPLAY award and the young pair Cosmina Stratan and Cristina Flutur shared Best Actress honor, which staunchly vindicates Cristian's consistent excellence not only in his fine-tempo and well-pitched directing bent, but a robust script and ultra-overpowering cast as a whole superlative pack.
Like his breakthrough chef-d'oeuvre 4 MONTHS, 3 WEEKS AND 2 DAYS (2009, a 9/10), the film anew grapples with the contentious subject-matters (this time it is about religious belief) and assigns two young girls in the main roles. The film acquaints its viewers with a secluded locale, an austere monastery (with no electricity and utilizing well water for example) is in stark contrast to the contemporary modernity, then slowly unwinds a tug-of-war in the name of love between God and human, a hapless destiny falls upon 2 girls from the same orphanage, one has become a pious nun so far, yet another is an obstinate non-believer, who chooses God as her love competitor and defies any compromise.
There is an unremitting impulse of captivation throughout the entire film which successfully banishes the awareness of its 150-minutes length. One of Mungiu's trump card is his virtuoso camera deployment, which has again fixated on a well-organized angle, especially in the indoor scenes, all the inconsequential items have been placed into incessant expositions of still paintings.
A strong-arm tension has been outstandingly established among three main characters (the said two girls plus the priest), although a few well-worn plot twists-and-turns may not survive the hindsight, however the eventual repercussion is nothing if not astonishing.
Much accolades should be granted to the film about its no shade of grey amplification of managing the thorny issue, the clear-minded of eschewing any grandiosity with a telling coda, which can never be less appreciated among cinephiles.
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