Four years after winning the golden bear due to his “Luck Luck Baging”, Rado Joud Romanian returns to Berlinale with his latest feature, “Kontinental ’25”, which is first shown on February 19 in the main competition of the festival.
The film follows a preparatory, Ursolia (Izster Tumba), who fell into an ethical crisis after a shelter man tries to expel. She is struggling with a deep feeling of guilt, and she is looking for ways to reduce her troubled conscience, and even increases despair for reassurance and external health verification.
He said it is easier than doing it. You may also expect from one of the leading incentives in global cinema, the circular research of Orasulia revolves around the redemption towards the fears of Jude the Great, taking into account (but it is barely limited to) moral relativity and economics after socialism, nationalism and the Roman housing crisis. When these topics converge – and how every simple woman like Orsolya responds to them – perhaps the biggest issue of the film ever.
“When we wonder about our reactions to the tragedies, we often find them about to ridicule,” he explains. Take the conscience that spreads its anger at the war in Ukraine on social media before, after seconds, and shares a picture of its lunch. “I do not judge – I am doing it too – but I find that there is almost a” comic comedy “in these contradictions. It is the least spelling and more reflection of the absurdity and complexity of human interactions.”
Although such comprehensive concerns are busy, “Kontinental ’25” is a movie about modern Romania. Jude is a smart historian in the country’s decades experience with Gonzo Capitalism, and the continuous “transitional period” of the post-socialist era-do not expect a lot of devastating topics in his place In Locarno.
While determined not to underestimate the “degrading and terrible” conditions of the CEUșESCU system, which ended with the transfer of democratic democratic Romania in the 1990s, the manager repeatedly returns to the disclosure of the social system that followed in the aftermath of the strong man – and he “created a lot of suffering … people Those who were somewhat abandoned by the state.
If there is anything, the challenges have become more clear because the world becomes more effective – or perhaps, because it is committed to the craving of Rado Jude. Last November, Romania elected a right -wing right candidate to be a coming president, to cancel the results by a constitutional court on the accusations of the Kremlin intervention. Only last week, outgoing president resigned in the country, instead of facing accountability by the arduous right -wing parliamentary parties.
Although it is hardly heated from the disturbances, the exit can at least appreciate a specific paradox in the tilt of his country. Pointing to the last return to the White House Donald Trump, Joud notes that for many years in Romania, “The United States has always been offered to us (sometimes with a certain superiority) as a great model for follow -up, as a great democracy that we must not only respect but imitate.” “At the present time, it is reported by this great democracy that has just elected a handful of fascists to the rule of the world.”
It is a lot to enter. Not for anything that seems to be besieged in a network of words all over the “Kontinental” 25 – stimulated the failure to work, as it was, through the tragedy in which no small part played. Jude says: “In some way, its ethical crisis is an easy way to go out,” says Jude. “But I must admit that regarding these issues, I am as lost as it is. The film tries to pick up this confusion – it is its main topic, in some way.”
“Kontinental ’25” a reference to Roberto Russellini “Europe 51”, a post -war drama that followed “a woman consumes guilt, is looking for salvation,” according to Jude. But the Romanian, which is located in the town of Klog in Terselvanian, is “the least tragic in terms of metaphysical and more accumulated in a very contemporary combination of comedy and drama” – a combustible mix that describes it as a “caricature of Russelini types”.
The film is also an exercise, simply would do the Italian realists proud. It was photographed on the iPhone, “Kontinental ’25” is due to what Rossillini is referred to as “poverty of the means”, shooting 10 days without lighting or fist equipment, and depends only on dialogue and natural settings – a process that Jude describes as “editing”
The director is currently in the post -production stage in his expected movie “Dracula”, which hopes to be the “total opposite” of his golden opponent Bear. He says: “If” Kontinental “25” is my answer to Roberto Roselini, “Let’s say that” Dracula “is the message of my love to Ed Wood.”
