פאָלקס פון Romania

A man orders a statue.

Love between two people and other feelings that can influence it: selfishness, meanness, violence, envy of those around them.

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.

"The one-day revolution" is a short film directed by Radu Vasile Igazsag and produced by FAV - Fundația Arte Vizuale (2004). (Source: YouTube @THECINEPUB)

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.

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

The road through Stremt ends in a mountain wall. Still, in 1989 people were eagerly awaiting army tanks, terrorists and glory. Today, though partly forgotten, partly imagined, the past is crystal clear.

Music video for the band Șuie Paparude

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.

"VUNK - I swear to tell the truth" is the first documentary of a band from Romania. Tracing the history of one of the most beloved rock bands of recent decades, the documentary surprises VUNK fans with new images and stories, starting with their participation in "Singing Romania" in 1988 and continuing with key moments in the 90s, when the band was still performing under the name Vank.

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.

Report from the Red Flag is an odd presence against the gloomy background of Stalinist Romania. It belongs to a wider body of Sahia films about the living conditions afforded by the new blocks of flats built across Romania – in this case, a workers’ quarter built in ‘Stalin’-town (the name assigned, between 1950 and 1960, to the Transylvanian town of Brasov). While other films bear the imprint of the collectivist, work-centered ethos of the time, Red Flag follows the workers during their downtime, between Saturday 3pm (the end of the working week) and Sunday evening, while they spend quality time with their families, walking, mountain climbing, biking, fishing, or shopping – an opportunity, today, to see candid images of relaxation shot at a time when the state started paying attention to the leisure and tourism facilities available to its citizens.

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).