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Entries in Romania (22)

Saturday
Mar072020

Posterized: Romanian Cinema

by Nathaniel R

Whistlers, the Romanian submissions for this past Oscar race opened in a few US cinemas this past week (we reviewed it in November). It's a blackly comic noir that's been compared to the work of the Coens and it comes from one of the most celebrated Romanian New Wave auteurs, Corneliu Porombiou.

Romanian cinema was largely neglected and underfunded until after the fall of Communism in 1989. Things began to pick up after that. In the mid-Aughts the country's cinema became a critical cause with prize-winning films emerging with great frequency. The country's most acclaimed cinema is often categorized by gallows humor and incisive or satiric socioeconomic and political commentary.

For the second episode of this new season of "Posterized" and  "Making Waves" a retrospective of Romanian cinema currently playing a US tour, we've selected the (arguably) 15 most famous and/or acclaimed films from the country over the past 30 years. How many of these  have you seen? Don't feel bad if your number is very low (we haven't seen the majority of them either) but do you see anything you've been meaning to catch up with or that now piques your interest? 

Click to read more ...

Saturday
Nov302019

The Whistlers: Film Noir Romanian-Style

by Cláudio Alves

As Noirvember comes to an end, it's interesting to peruse the current Awards hopefuls in search of some examples of film noir. Lynn Lee already defended the merits of Edward Norton's Motherless Brooklyn, but my attentions were drawn, as usual, to the Best International Feature category. Amid the record-breaking 91 submissions, we can find a peculiar experiment of deconstructed noir archetypes and mechanisms. It comes from one of those countries whose historical lack of a nomination is an absurdity and reflects poorly on the Academy.

I'm talking, of course, about Romania's The Whistlers

Click to read more ...

Monday
Aug262019

Best International Feature: Parasite, The Whistlers, and Denmark's Hopefuls...

by Nathaniel R

Park So-dam and Choi Woo-sik as con-artist siblings in Parasite (2019)

UPDATED SEPTEMBER 2ND 2:00 PM: The titles competing at the 92nd annual Oscars for Best International Feature are coming at us fast and furious now. In the past few days the number has climbed to an "official" 26 submissions...with probably 60ish titles still to come. 

SOUTH KOREA
It was widely expected that South Korea would select Cannes Palme d'Or Winner Parasite to represent them but we've been surprised by the country's selection before (why oh why did they pass on The Handmaiden in its year - argh!). Thankfully they didn't surprise us this year. This is Bong Joon-ho's best movie ever, give or take the also-quite-brilliant but Oscar-shunned Mother (his only other film that was submitted by South Korea) so it would be sweet to see it actually compete for the gold.

Denmark's finalists, Romania's selection, and the official submission chart updates are after the jump...

Click to read more ...

Wednesday
Feb132019

Berlinale 2019: Three queer selections, a doc from the Sudan, and one walkout

Hallo! Seán here reporting from the 2019 Berlinale. It's the first big European film festival of the year, where new work premieres, deals get made, parties go on (and on) and where cinephiles prove their love of film by standing around in the freezing cold. I'm doing my best "Berlinale business bear" I'm here in an offical capacity: getting a first look at the queer TEDDY titles (which we'll talk about after the jump) and the short films for festivals in London and Dublin, but aside from that I'm also here to enjoy the film festival experience i.e. standing in the wrong line and walking in completely cold to something truly bizarre and extraordinary.

The Berlinale has many distinct and diverse sections, each with their own different forms and appeal. As someone who (a year later) is only a year later beginning to figure this out, allow me to impart my knowledge on the sections before we jump into the queer selection...

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Thursday
Sep292016

NYFF: Hermia & Helena & Graduation

Bill Curran reporting from the New York Film Festival. Hot takes on two titles...

Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self. The trouble with translation and the clash of cultures is also evoked constantly, from the Five Points apartment adjacent from Columbus Park that both Camila and Carmen separately occupy, to the recording of a Scott Joplin ditty; from Camila’s touching first trip to meet her American biological father (filmmaker/critic Dan Sallitt), to the humorously arty avant-short-within-a-film created by Carmen’s secret lover. (This bit falls flat in execution.) Returning to a traditional runtime after a brief but fruitful sojourn into featurette land (The Princess of France, Viola), Piñeiro doubles-down on his fast-established trademarks—a waltzing blocking of actors spitting very fast dialogue, a liberal if still a bit lazy referencing of Shakespeare scenes, a folding-in-on-itself structure, the idea of romance as a transitory state—while giving them a little more room to breathe and take hold. It’s a breezy delight.
 

Cristian Mungiu and his "Graduation" cast earlier this year at Cannes

Graduation
After wrestling, often in real time, with the horrors of abortion and exorcism, the most universally acclaimed of the Romanian New Wave directors, Cristian Mungiu, grapples with another the universally grave topic: college. Specifically, getting into a good one, chief concern of Romeo (Adrian Titieni) and, to a lesser extent, his seemingly ailed wife Magda (Lia Bugnar) for their daughter Eliza (Maria-Victoria Dragus). She is on the verge of a major scholarship to study psychology at Cambridge and escape the blandness of Cluj in northwest Romania, should she pass a major statewide test with near-perfect marks. As plots go, one might expect the catch of a handsome, motorcycle-wielding boyfriend and a growing my-life-to-live defiance from the dotted daughter, and the film delivers there. However, setting the story up with the news of Eliza being sexually assaulted outsider her school comes as a shock, happening off screen and with few concrete details (if only to milk the mystery for two full hours). Romeo, of course, must remain vigilant in securing his daughter’s future, even if that means cashing in on the reverberations of one kind of crime to execute another. Mungiu eyedrops the narrative details, and twists their structural importance, with placid confidence, and continues to possess a rigorous handle on percolating tensions; there’s a sharp point-counterpoint cadence to the driving scenes between Romeo and Eliza, a fine grasp of subtle yet smart visual cues (dogs, windshields and windows, cell phones), and a fundamental distrust of authority, again exemplified by the smarmy calm of Vlad Ivanov. In Graduation, though far less subtle in its ratcheting suspense (and here, superficially in service of a university-entry exam of all things) than his Palme d’Or-winning 4 Months, 3 Weeks, and 2 Days, the drama still manages to take hold early on and remain riveting throughout.