مشهور کان Romania

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

A series of short stories with bottles.

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

Monk, the manager of a hotel in Cocos Island, throws bottles into the sea containing a fake treasure map of the island in an attempt to attract tourists.

An actor cast as a priest has difficulty executing a prayer scene he has to film due to his inner turmoil. He is troubled by a failed love story and exasperated by his housing situation – he lives in the same apartment as an intrusive mother. At the intersection of these events in his life, the man seems to undergo a spiritual transformation, presented in a way that is devoid of sentimentality.

Cafeneaua viitorului preserves an ephemeral episode in the history of the internet, today a phenomenon difficult to dissociate from everyday experience, then a novelty that barely captured the attention of a diverse audience.

Compiling various footage from Bucharest at the end of the millennium, Niculae Popescu's film aims to imprint on film the transient image of post-socialist society, caught between two worlds denoting different aspirations and presenting great social contrasts.

Filmed in six countries during fifteen years , "The Last Transhumance" takes us into the world of shepherds who walk with their animals very long distances in search for food: an ancient way of life not compatible with the modern world.

Humanity's sovereignty has fallen as a result of resource depletion, a virus outbreak that strips those affected of what makes them human, and ultimately, war. The dwindling survivors have been driven from their homes in search of safety, while a former soldier travels through the toxic environment in search of a cure.

25 years after her parents' wedding, a filmmaker discovers the VHS recording of the event. By watching and rewatching the images, she tries to discover more about her family, but eventually finds herself trapped in a world of hidden memories.

A small part of Ion Tarara's photographic archive is put in sentimental order by his daughter, on which occasion she rethinks the poetics of archivism.

In December 1955, the professional community around Sahia celebrate the fifth anniversary of their institution by producing this films meant to be screened in the opening of the anniversary party and only for insiders of the studio. The film copy available at the National Film Archive has no credits therefore we cannot be specific about the type of involvement of each member of the studio in the making of this film.

Commissioned by the Ministry of Oil and filmed in the summer of 1970, in Argeș and Ilfov counties, southern Romania, this film was meant to prevent a dangerous practice particularly widespread among people living in rural areas: the transfer of methane gas into homemade containers as a way of stockpiling ‘emergency’ supplies. The film shows a number of accidents of varying levels of gravity, identified after sixteen days of research in the two counties. Via several sync-sound interviews recorded in villages around the region, this stark educational film reveals the vulnerability of a rural world where, as a result of ignorance and lack of education – and also due to limited availability of regulation gas canisters, an issue which remains unmentioned in the film – people ignored basic safety rules on a daily basis and suffered fatal accidents as a consequence.

Travelogue of Craiova, a (then-)small town in southwestern Romania.

Animation short based on orthodox themes.

People Telling Stories is an industrial, health-and-safety commission turned into an aesthetic exercise by one of the most flamboyant young directors at Sahia. In the early 1980s, Romania experienced a crisis triggered by the so-called ‘Transcendental Movement’ (a variation of the ‘Transcendental Meditation’ movement created by Maharishi Yogi, with some significant involvement from the Romanian Secret Police). Those involved, most of them members of the intellectual elite, were harshly repressed. One of them was Paștina, who lost his right to make documentaries for cinema distribution and was demoted to directing health-and-safety films commissioned to Sahia by various institutions.