เป็นที่นิยม จาก Romania

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.

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.

Through an oneiric and experimental lens, the filmmaker confronts her own experiences of harassment and institutional control, exploring how these encounters shape perception, body, and agency. Inspired by the photography series of the Romanian visual artist Geta Brătescu, the film navigates opacity and vulnerability, creating a reflective space where trauma is both embodied and mediated through artistic practice. By blending personal narrative with abstract black and white analogue photography, the work opens a dialogue about witnessing, control, and resilience, offering a meditation on the subtle violences that mark professional and intimate spaces.

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.

A brave young warrior defeated a dragon. As a reward, the inhabitants of the city proclaimed him their ruler. And everything was fine... until, corrupted by power, he himself began to turn into a monster.

Animated advertisement for ADAS, the State Administration of Insurances.

Dreamlike and experimental film essay.

"The Power of Love" is the sequel to the film "The Power of Probability". A drama, thriller, full of emotions. A story that tells the heroic confrontation of an honest man against the mafia.

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

Short promotional clip of the legendary Athenée Palace, Leonard Suciu’s film plays out as a pop-infused showcase of the venue’s nocturnal temptations. Scantily clad dancers, sweaty singers, and all sorts of bacchic attractions—seasoned with a psychedelic soundtrack—recreate a Western-style atmosphere where spectators (both men and women) lounge in the cigarette-smoked chiaroscuro, while the performers lay themselves bare to indiscreet, hungry gazes in search of exotic thrills.