{"id":4174,"date":"2025-03-15T07:00:51","date_gmt":"2025-03-15T07:00:51","guid":{"rendered":"https:\/\/ofero.news\/?p=4174"},"modified":"2025-03-15T07:00:51","modified_gmt":"2025-03-15T07:00:51","slug":"romanian-film-review-politics-genre-classics-surprises-berlinale-2025-visuali-italiane","status":"publish","type":"post","link":"https:\/\/ofero.news\/?p=4174","title":{"rendered":"Romanian film review \u2013 Politics, Genre, Classics, Surprises: Berlinale 2025 & Visuali Italiane"},"content":{"rendered":"

The 2025 edition of the year\u2019s first major film fest in Europe (and one of the biggest worldwide), the Berlin International Film Festival<\/a>, took place between 13 and 23 February. My notes come with a bit of delay, as I was also hit by the festival flu that got so many of us sniffling and coughing our way through the cinemas, but coincidentally at a good time to introduce a current fest in Romania.<\/p>\n

The Berlinale official competition featured once again a film by Radu Jude, Kontinental \u201925, <\/em>and he snatched an award again, this time for best screenplay. A well-deserved prize, even if the always (and entertainingly) self-deprecating Jude called himself \u201ca bad screenwriter\u201d when accepting the trophy, especially in a competition with few memorable films. Among them the big winner, wonderful, funny, wise, terrifically eloquent coming-of-age story Dreams (Sex Love), <\/em>directed by Dag Johan Haugerud. But back to Kontinental \u201925, <\/em>which is more consistent in form, rhythm, and style than some of the director’s previous films, also calmer and more melancholic, but just as sharp, and riotously funny. The film was shot on an iPhone on location in Cluj-Napoca and tells the story of a bailiff who falls into a an acute existential crisis when one of the men she has to evict dies. Gentrification, social inequity, capitalism, morality, ethics, religion, multiculturalism: Jude tackles them all with his usual wit and critical words. I will write more on the film when it premieres in Romania. I suspect and hope it will make quite a splash. \u00a0\u00a0<\/p>\n

Run by a new artistic director and with new members on the selection team, I was happy to see more genre titles take over the festival\u2019s competition (H\u00e9l\u00e8ne Cattet and Bruno Forzani\u2019s Reflections in a Dead Diamond<\/em> was wild) and the surprises in the new section called Perspectives, dedicated to fiction debuts. Valentine Cadic\u2019s lovely and very French That Summer in Paris <\/em>featured a protagonist who tries to make the best out of her Parisian holiday after having been denied entrance to the Olympics, catching up with her stepsister (an excellent India Hair) and her daughter, meeting new people, and generally taking in the city. Deceptively light, the film unfolds as a thoughtful, constantly surprising portrait of a young woman at a vulnerable time but self-assured enough to know what she wants, carried by great curiosity and gentleness. Delightful. Ira Sachs\u2019 Peter Hujar\u2019s Day, <\/em>playing in Panorama, also took me by surprise, not because I was not expecting to enjoy it \u2013 Sachs is such an intelligent, sensitive filmmaker \u2013 but because I did not expect to be so moved, so enthralled by a conversation piece in which the photographer of the title recalls a pretty random day in 1970s New York. The Retrospective section focuses on classics, and this time it spotlit German genre cinema of the 1970s. A revelatory, fun selection, and the best collective atmosphere in a theatre. Not to make it too confusing, but there is a separate section called Classics, i.e. restored or rediscovered films. Antonio Gim\u00e9nez-Rico\u2019s Dressed in Blue<\/em> (1983) was a true find, a documentary about a group of trans women in early 1980s Madrid, a fantastic, engaging, warm, generous \u2013 and indeed very informative \u2013 take on what it means to live according to one\u2019s wishes, with all the joys and hardships. I ended the festival with the opposite genre: Don Siegel\u2019s ultimate bad-cop, law-and-order hit Dirty Harry<\/em> (1971). Clint Eastwood\u2019s hard-boiled, cynical, macho cop shoots, hits and swears his way through a fantastically photographed San Francisco. A great spectacle and a film on skewed morality (is a ruthless, prejudiced cop who doesn’t play by the rules not just as bad as the bad guys?), somehow very fitting viewing for the times we are living, not to mention current US politics. \u00a0<\/p>\n

And to finally segue from Berlin to Romania: Margherita Vicario\u2019s Gloria!, <\/em>which premiered at last\u2019s year\u2019s Berlinale, is shown at Visuali Italiane<\/a>, the festival showcasing new Italian cinema in Romania. The 4th edition started in Bucharest and is now touring various cities: Craiova (21 \u2013 23 March), Timi\u0219oara (27 \u2013 30 March), Ia\u0219i (29 \u2013 30 March). Gloria!<\/em> is an uplifting musical, a period one, centered on a group of young women in a 19th century Italian convent for abandoned and orphaned girls making music together. Baroque and feminism, with an empowering message \u2013 what\u2019s not to like!\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0By Ioana Moldovan, columnist, <\/em>ioana.moldovan@romania-insider.com<\/em><\/a>
\n(Photo info & source: still from <\/em>Kontinental \u201925, courtesy of Berlin International Film Festival<\/em><\/p>\n

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The 2025 edition of the year\u2019s first major film fest in Europe (and one of the biggest worldwide), the Berlin International Film Festival, took place between 13 and 23 February. My notes come with a bit of delay, as I was also hit by the festival flu that got so many of us sniffling and […]<\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4174","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/ofero.news\/index.php?rest_route=\/wp\/v2\/posts\/4174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ofero.news\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ofero.news\/index.php?rest_route=\/wp\/v2\/types\/post"}],"replies":[{"embeddable":true,"href":"https:\/\/ofero.news\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4174"}],"version-history":[{"count":0,"href":"https:\/\/ofero.news\/index.php?rest_route=\/wp\/v2\/posts\/4174\/revisions"}],"wp:attachment":[{"href":"https:\/\/ofero.news\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4174"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ofero.news\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4174"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ofero.news\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}