Christian Mungiu, a favorite at the long-running Cannes Film Festival, is back in the competition with a strong view of multi-ethnic strains and divisions in a small Transylvanian town. RMN As always, the writer-director works closely and closely with his handful of characters who struggle to keep themselves and their newly formed community afloat in changing times. It is a kind of close-up-and-personal look at contemporary issues in an area that is often not dramatic or published in the news, which adds a new and urgent feel to the film.
Mungiu hints at the beginning that things are not right in the city, through the character of a young boy Rudy, who stops talking and is afraid of everything. The boy’s tough father, Matthias (Marine Gregor), rarely improves when he returns from work elsewhere, ruthlessly throwing his weight around and making life harder for the terrible boy and his mother than ever before.
The women of the small town would seem to represent his best hope, led by Cecilia (Judith State), a wealthy, able-bodied type who was Matthias’ lover. An annoying problem with the film is that Matthias is a one-dimensional reactive jerk that seems to be more attached to his gun than any of his intimate ones; He wanders around with a rifle and a bad attitude, likes to intimidate, is attracted to threats and violence and effectively makes any situation more unpleasant than before.
The true nature of the small community is revealed when Cecilia, who runs a small food factory, hires some black skinned immigrants from Sri Lanka to work in small positions. The common complaint is that things are bad enough that outsiders do not come to take their jobs, but racism is unequivocal at the root of the villagers’ attitude, and it is not much to connect with what is happening here with Germany in the 1930s. .
Everything would seem hopeless if not for Cecilia, a non-nonsense dynamo with a subtle spirit and boundless power that shows almost everyone how it should be done. Undoubtedly he will succeed wherever he goes, but he is committed to putting his city on the map, bringing it into the modern world and doing something if possible.
But the respondents will not get it, especially when they know that the imported workers are handling their baked goods.
This is the last straw, and it provokes a town meeting that, to put it mildly, reveals a very strict and deep, centuries-old superstition to the locals, especially the elderly. Interestingly, however, Mungiu shoots this climactic scene from a stationary position, allowing only a partial view of the huge, jam-packed room, which strangely diminishes the emotional impact of the scene. Wasn’t he extra enough to fill the hall? The scene can be made more dynamic by cutting and taking some of the many people with their own heated emotions and attitudes.
It’s a welcome, logical, but still hot-headed picture of aspects of European politics and prejudices that are often unheard of, at least in the United States. While the fresh, front-line perspectives on life in such cities are warmly and warmly welcomed, the film still retains a calm, observational feel to all of the director’s previous work. On top of that, Judith State is an extremely powerful center who provides both dramatic and emotional pivots for this subtle and unexpected contemporary drama.