Populiari Nuo Romania

Two characters separated by a deep gulf strive to build a solid bridge between the two sides.

Another series of short stories about bottles.

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.

An introduction in judicial ballistics and the ways of interpreting and analysing marks, ammunitions and weapons used in judiciary analysed cases.

Multiple kinds of "judicial experiments" (re-enactments) are presented, their purposes and procedures being revealed throughout the film.

Music video for the band Șuie Paparude

The Segalls’ interest in children’s lives dated from the mid-1960s, when, using a camera placed off-stage, they filmed the end of the year festivities at their daughter’s nursery. The result was Big Little Feelings, which won the Silver Dove at the Leipzig Festival in 1964. In the years that followed, the idea of including their own child in some of their films did not sit well with the political bureaucrats. In the end, she would only feature briefly in two short sequences at the end of this and another documentary, filmed eleven years later with the same children (The Feelings Have Grown, 1975). In both films, Doru Segall proudly makes clear that he is both the film’s cinematographer and the father of the girl in the image—a personal, autobiographic detail unusual for a Sahia film. Over the following years, the Segalls continued to work on documentaries about children, including Exams (1976), The High Schoolers (1978), Parents Meeting (1980), and The School Leavers (1986).

What more understated, and yet more effective, ode to urbanization than Mesaroș’s film, which consists entirely from dynamic black&white photographs connected by a voice-over commentary written from the perspective of a naughty pre-teen boy who enjoys to the full the benefits of modernization? His village (Nehoiu, in Buzău county) is about to become a town; the boy writes a letter to his cousin from the capital, Bucharest, to tell him about his daily life. As in Red Flag, humour is a crucial element employed to smooth down the otherwise transparent political ‘message’ of the film: when the boy swallows a button, the mother takes him to the “new” hospital, where the doctors take an x-ray picture “to see if it’s from the shirt or the pants”; the machine is “so good” that they can clearly see what sort of button it is.

This film consists of almost twenty minutes coverage of a political rally, filmed by more than ten Sahia cameramen, during the celebration of the thirtieth anniversary of 23 August 1944, ‘the first day of the socialist era’. The Hottest Day is part of a rich author filmography, which includes around one hundred titles, such as A Life Dedicated to the Happiness of the People (1978); Homage (1983); The Party, The Homeland, The People (1986); Heroic Times in Legendary Lands (1987). When the Sahia documentaries obediently followed their political commission, their length could surpass the usual ten to twenty minutes, even reaching feature length. The Hottest Day was one of the shortest film in this category that we could find in the archives.