In 19th century Romania, Costandin, a policeman of the time and his son travel through the country in search of a fugitive Gypsy slave. AFERIM! is an attempt to gaze into the past, to take a journey inside the mentalities of the beginning of the 19th century. Critically acclaimed, it went on to win the Silver Bear for Best Director at the 65th Berlin International Film Festival. An exceptional, deeply intelligent gaze at a key historical period, with significant ramification for today' VARIETY
Mr. Lazarescu, a 63-year-old man feels sick and calls the ambulance. The film follows him from hospital to hospital as the doctors try to find room...
In the prelude to Code Unknown, we watch as a class of deaf children play a very sophisticated game of charades. In response to a blank-faced girl shrinking slowly against a wall, the children guess: is it sadness, isolation, loneliness? We are not told the answer before director Michael Haneke cuts to the extraordinary opening sequence of the film. This nine-minute tracking shot along a busy Parisian boulevard, introduces the film's central characters: Amadou, a first generation French boy of West African descent; Maria, a Romanian illegal immigrant; and Anne (Juliette Binoche), a French actress, trying to make the leap from theatre to film. However, this is the only time we will see these characters together in one place before the film fractures into a series of vignettes, which slowly describe their lives, their cultural isolation and their search for small moments of beauty within this alienation.Michael Haneke has been credited with reinvigorating and refreshing Austrian cinema with expectation-smashing early films such as Funny Games; if his newest pan-European films are anything to go by, he could be set to do the same for Euro cinema in general. Though Code Unknown is very different from Haneke's Benny's Video or Funny Games, like them this film also implicates and involves the viewer in the guilt of the on-screen characters. Its structure of intricately woven story strands is entirely provocative and stirring--politically, aesthetically and emotionally. It's exactly the type of film you want to watch again and again. As with the players of the opening game of charades, we won't be given any easy answers to questions about our collective guilt in the racism and alienation of an undeniably multicultural, multiethnic Europe. --Tricia Tuttle
Sixteen years after the Revolution and just days before Christmas, a local television station in Bucharest has wants to revisit the uprising.
The long awaited follow-up to The Death of Mr Lazarescu premiered at Cannes in May and is the second in his projected series of 6 films dealing with life in Romania. Aurora is the story of the fall of an ordinary man - an imperfect fall without glory. The film follows Viorel for two days as he wanders Bucharest. A recently divorced father of two young daughters, Viorel is an engineer. At work, he has an altercation with one of his co-workers who owes him money and drops in on another employee who hands over two hand-made firing pins, prepared in secret, for a hunting rifle. Viorel wanders around Bucharest. Wherever he is, he feels the same strange nervousness, the same muffled anxiety and the same urge to end the instability that rules his life. He buys a rifle and ammunition, then goes back home to test his weapon...
Cornelia an elegant and well-connected woman at the pinnacle of society hides a dark secret. She has an estranged son Barbu who seems at odds to keep his life as private as possible far from the prying eyes of his aristocratic mother who is desperate to re-establish the bond between them. When her son if found at the wheel of a car involved in a fatal collision Cornelia's character and public image are cast into doubt as her strong maternal instinct turns into something much darker in her ruthless pursuit to protect her son.
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