The Hands of Bresson

Sundry observations on the art of cinema and world film culture

Posts Tagged ‘Romanian cinema

Radu Muntean Interview: Tuesday, After Christmas

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Too often in the movies, affairs are either blithely romanticized in the grand European tradition of middlebrow “passion” films (The French Lieutenant’s Woman comes to mind) or used as a teaching tool to bludgeon audiences into accepting a damning moral perspective on the consequences of extramarital activity. (See Little Children, for instance.) Life has its own current, though, and the nature of relationships sometimes follows a pattern that is chaotic and irrational, messy and perturbing, where the boundaries between love and naked contempt (ah, Godard!) are no longer discernible. Movies from Voyage to Italy all the way down to Maren Ade’s Everyone Elsehave portrayed intra-relationship dynamics with emotional honesty and astute insight, leaving us with memorable impressions of love in a state of deterioration, or foundering on the shoals of time. In his fourth feature film, Romanian filmmaker Radu Muntean (BoogieThe Paper Will Be Blue) again fastens his attention on the question of intimacy and loneliness, crafting a frank, tightly constructed three-character drama that speaks volumes about marriage, desire, and how we negotiate the varieties of attachment we have to other people.

Click here to read the rest of my interview at Filmmaker.


NYFF ’09: Police, Adjective

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Corneliu Porumboiu's Police, Adjective

Less is more in the sophomore feature by Cannes Camera d’or winner Corneliu Porumboiu (12:08 East of Bucharest), a filmmaker attentive, like his fellow under-40 countrymen Cristi Puiu and Cristian Mungiu, to the ironies of bureaucracy in post-totalitarian Romania. Police, Adjective is a slow-burning, intriguingly subtle tweak on the crime procedural. But the arc of this story, unlike most classic policiers, is almost bewilderingly straightforward: Cristi (Dragos Bucur), a young plainclothes cop in an unnamed provincial town, stakes out a high-schooler suspected of dealing hashish, yet is reluctant to haul him in on the testimony of a dubious informant. Despite its resemblance to a character-driven psychological suspense film, however bare-bones its approach—it’s no Zodiac, and doesn’t aspire to be—Police, Adjective is more a showcase for Porumboiu’s formal precision with urban anyspace and penchant for mordant, slice-of-life humor, its wry punchline ultimately hinging (as the title boldly hints) on the vagaries of language.

Read the rest of my review at Reverse Shot.