ນິຍົມ ຈາກ Romania

Two boys find a kernel of corn.

A man orders a statue.

A modern parable about the man who learns to build walls and houses.

Nela, Vic, Bogdănel and Mihai go through a series of adventures with the innocence of childhood.

After the death of her best friend, Cleo tries to carry out her dream: publishing a book of poems. Caught between the pressure of the promise she made and her increasingly fragile relationship with her boyfriend, Arthur, Cleo struggles with grief, longing, and the need for meaning. “Promise Me” is an amateur film about loss, obsession, love, and the fragility of adolescence.

Music video for the band Șuie Paparude

Sganarelle finds himself in a situation as difficult as it is ridiculous: he is an aging man pursuing a very beautiful yet libertine young lady, with the intention of marrying her. Sganarelle is wealthy, whereas she, Dorimena, comes from a poor family. How hard it is for our bachelor to part with his comfortable and well-off freedom! How afraid is he to break his cycle of sadness and take a step to happiness?

Video performance by the interdisciplinary Romanian transgender artist Elvisey Pisică, addressing mental health and LGBT issues from a personal standpoint.

You must have passed through here at least once, says the voiceover commentary during the opening shots of this film. We learn that express trains pass through Meri without stopping and goods trains slow down, but don’t stop. Only the 7:01 commuter train stops, for just a minute, long enough for the teaching staff to alight. Dedicated to all those who live and work in isolated corners of the country, the film conjures up a small, remote world, virtually unknown to wider audiences.

A young male has a testicle problem and starts projecting his biggest fears based on his research on the internet. His girlfriend and twin brother come to the rescue.

A woman’s journey towards liberation and healing through recollections of her younger self.

Little Ones Describe the Big World is not so much relevant as a sample of the directorial work of filmmaker Gabriel Barta as much as it is as an example of the early writing of one of Romania’s most peculiar and prolific writers, Radu Cosașu, who, at the time, worked closely with the Sahia studio after going through a difficult patch with the political establishment. The film is structured through the father-daughter dialogue written by Cosașu to lend colour and a narrative to the aforementioned exhibition. The style of his writing combines the wit, irony, and casual tone that have become his trademark: here, however, these qualities are put to work for the benefit of the socialist state’s political agenda.