Popilè Soti nan Romania

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.

Fired from the editorial board of a humor magazine because he isnțt funny enough, protagonist Vică remains unemployed until he accidentally reunites with an old acquaintance on the muddy streets of Bucharest in winter.

MODERN PRIMITIVE, the only body suspension team from Romania, broke up. It's members, Dragoș, George and Ovidiu reorganized themselves continuing to do body suspensions, each one in their own style.

When a meat factory worker tries to apply for a new job at the company's central headquarters, two worlds collide! Brebenel is now torn between joining the soulless machinery of the corporate world for financial incentives, or turn back to the fragile, but alive, world of the simple man.

Bridges are built to connect people, unless it is forbidden to cross them. The towns of Sighet in Romania and Ukrainian Slatina are separated by the river Tisza. A recently rebuilt bridge is supposed to not only reunite the two towns but also bring back together friends and relatives who have been divided throughout history by various political decisions. The former bridge was destroyed by German troops in 1944. After WWII, the border was closed. For 50 years there was nothing but silence between the inhabitants of Romanian Sighet and the city of Slatina, which then belonged to the Soviet Union. The film documents the long, often absurd and eventually vain struggle of the local inhabitants and politicians to reconnect the two communities.

After years of exercise, contemporary painter Lucian Prună paints pieces of the life of romanians as he recounts about his own life.

“Cinema, Poetry, and Trains in Tîrgu Neamț” might serve as the subtitle for this film, which Copel Moscu composes in a deliberately atomised manner, capturing the rhythm of a small provincial town in late-1980s Romania: cinema as escapism, pouring rain à la George Bacovia, and a vague love story between a woman projectionist and a railwayman come one after the other over the course of this somewhat comical elegy, whose meanings do not achieve the poignant depths of Moscu’s other films.

What do you see when you listen to the radio? What do you hear when you look at the image of water? Like a crossword, this film is made up of a series of questions and answers that, viewed from a distance, seem chaotic and meaningless, but put into relation to each other become simple truths.

A romantic anniversary at a hotel goes thoroughly off track for Laura and Marius – in this chaos, there is no space for real passion. With charisma, sharp wit, and a warm undertone, this comedy skewers bourgeois sensibilities while raising the ultimate question: what does it take to spark the missing adventure in love?

Claudia confronts her phobias and fears, and a bathtub filled with water will convince her that, in the end, everything can turn out all right.

Animated film about the dangers of drunk driving.

Dreamlike and experimental film essay.

About the life of an anthill.

The director's grandparents are reminiscing on moments from their marriage. Film was meant to be part of a video installation.

When two people can no longer understand each other, love turns into conflict, and conflict into tragedy.