A TV team visits the camp of a Roma community in Bucharest that was recently evicted and is protesting. During the interview, the protestors start questioning the motivations of the reporting team and claim their right to tell their version of the story. The film is based on the story and experiences of the evicted people from Strada Vulturilor 50 in Bucharest.
A village called Rosia Montana (Verespatak in Hungarian) is going to be eradicated because it is situated near mountains containing 300 tons of gold and silver. Hundred-year old houses, graveyards and churches will be destroyed, people living there for all of their lives will be moved away in order to allow a Canadian-Romanian company to install the largest gold extraction facility of Europe. The planned 800-hectare cyanide pool can be considered as of fearsome proportion, especially in the light of the cyanide catastrophe of the year 2000, which left the Tisza river completely and utterly devastated.
Following the death of his wife, a father is trying to take care of his daughter, amidst a murder mystery which concerns both of them.
Puiul is a short animated art Romanian movie without dialogue.
Professor Ioan-Matei Agapi, an 80-year-old photographer and cameraman from Iași, Romania, owns a unique collection of 16mm films and photographs documenting almost fifty years of the city’s history. His daughter, also a filmmaker, has decided to make a film about her father's archives. In the unconventional surroundings of his old apartment, he reminisces about the past until one day, Ioan is informed that he must leave or be evicted from the apartment where he has spent the past 40 years. Ioan’s years of work suddenly transform into a huge burden, and the film unexpectedly changes into drama in which conflicts with city officials reveal old and hidden conflicts within the family.
Luca and Otilia,two young people just beginning their lives, move in the big city, helped by their childhood friend, Vlad. They rent a flat in an old building, in which only one old man lives, Felix. The flat has a peculiar past: a former tenant, Irina, disappeared mysteriously 6 months ago. One night, after a big fight, Luca falls asleep in the living room and leaves Otilia alone in the bedroom. During the night, Luca hears the scream of his wife coming from the bedroom. Scared, Luca goes to the room where he had heard the scream from. He notices that his wife has disappeared, just like the previous tenant, without any warning. A crazy game begins: Luca has to find out what happened to his wife and face the accusations that others bring on him, especially to Vlad's, who was in love with Otilia.
Two characters, a carriage and a horse. Where are they going? Towards what? Joy, torment and undefinable music. Vulnerable, yet not ready to surrender. They are the poets of time.
A city-vérité conceptual movie shot in Bucharest, the capital of Romania. With an outside-the-box cinematic perspective, a full-encompassing soundtrack, a sequential narrative approach and no dialogues, the film slices through the urban soul and the contemporary spirit of a city formerly known as "Little Paris".
Animation short.
3 stories, 3 characters and 3 periods of time are at the center of the film. The main story is about Brancusi's mature period, following his arrival in Paris, during his friendship with Modigliani and his relationship with Martha, his favorite model. The second story is about a Fine Arts student. Due to the massive criticism of some Romanian Academy members, who didn't recognize Brancusi's work first, he wanted to leave Romania and sent to prison for 13 years. After he's released the value of Brancusi's work has changed in Romania and now the former security forces him to forge some of Brancusi's works. The third story has at its center a great scholar who lived in Tibet in the XII century. He is the link between sculptor and forger, a link between their destinies
Eva flies back from France expecting a simple funeral. What she gets is a hunchbacked grandma, a furious village priest, and a coffin that just won’t fit. With the church refusing to bend and the body refusing to straighten, Eva is forced to navigate small-town absurdities, family pressure, and funeral logistics that defy common sense.
Armed with a gun he finds thrown in the corner of the block of flats where he lives, Nae sets off on a nocturnal adventure through the city. Influenced by his cinephile imagination, the reality of the almost deserted streets merges with a noir drama atmosphere he obsessively watches. Projected into the grey landscape of Bucharest in the late 1990s, the tragic and absurd action of Cristian Lucian Dobrovicescu's short film is cut out and stylized in the manner of comics.
A documentary which aims to dig deeper into the origins and meanings of traditional Moldovan ornaments.
A portrait of the caricaturist Mihai Stănescu, the film is not a conventional documentary, as it resorts to small comic scenes that highlight the playful personality of the plastic artist. "Antiinterviu" contains a prologue conceived in the aesthetics of silent comedies, with a little boy who scribbles on any surface he finds, from the walls of buildings to the clothes of citizens standing in line at the Alimentara, being chased and pulled by the ears by police officers and other adults around him for his disobedience. The defiant attitude of Mihai Stănescu, known at the time for his caricatures with political allusions, also appears to have a mischievous dimension.
The film begins as a cultural reportage of the most conventional kind, with a series of frames filmed around Peleș Castle, set to classical music and accompanied by a commentary describing the museum's ceramic collection. What is surprising in this construction is the unusual effect that the natural setting, chosen as the original backdrop of the presentation, has on the exhibits. Removed from the museum and displayed outdoors, the objects fail to resonate with nature and stand out like anomalies in the wintery, postcard-like landscape. But the romantic surplus of Chopin's music, which is added to the increasingly abstract visual compositions, with vases, trinkets and precious tableware fancifully placed in the water of a stream and among snowy fir trees, represents an at least extravagant attempt to deviate from the aesthetic norm.
While waiting for her teenage son, Tia works around the house and organizes her memories. The film is composed of small domestic moments with the two, overlaid with glimpses of images and sounds recalled by the protagonist - tensed scenes from the factory, letters from her late husband, photos from when she was little. A certain childhood episode keeps coming back and overlaps a meeting with a familiar-looking man, whom Tia doesn't want to make future plans with.
Two identical hotel rooms, two phone conversations, a single door and a single point of view from which all these glimpses of days in the lives of two strangers are captured: a man in transit through an unidentified provincial town (we only get to know that it's somwehere in the mountains) and a woman who came from far away to seek a better life, who makes love for money every night. The film's visual minimalism, the elliptic, fragmented narrative structure, the lack of a clearly-articulated theme turn this experiment into an early exemplar of a certain type of modernism, which would reach its peak in Romania only two decades later.
