A Day Will Come takes a horrified look at how recent societies (for capitalism is no exception, on the contrary ) reformulate their culture into pragmatism and conformism – neither the new man nor the brand-new man are humanists anymore.
The Sahia studio has a large history of films that were subversively allegorical, a heritage that is always over- or underrated. What’s certain is that Copel Moscu’s film was too much for communist-era censorship. Because the building of the poultry factory in Bacău, which ordered the film, also hosted a kindergarten for the employees’ children, an occasion for the Sahia filmmaker to create a metaphor starting from the similarity in their methods of “productive” rearing. Banned in 1985, when the film bore the title A Day Like Any Other, and released in 1990 as A Day Will Come, the documentary takes a chilling look at the ways in which recent societies (because capitalism is no exception, on the contrary) reshape their cultures in the name of pragmatism and conformism. Neither the New Man, nor the Brand-new Man are humanists anymore. (Călin Boto, BIEFF 2022)
A slow-time masterpiece, Panta Rei originates from the mythic trope of narcissistic reflection, easily translatable for ecological thinking in imminent danger.
With its suggestive title and the incessant ticking of a clock on its soundtrack, this video signed by the Iași-based artist toys around with the idea that it’s impossible to communicate at a later time.
In the first of her three collaborations with Alexandru Solomon, artist Geta Brătescu reveals herself as an alien creature that feeds itself with earth.
A Day Will Come takes a horrified look at how recent societies (for capitalism is no exception, on the contrary) reformulate their culture into pragmatism and conformism – neither the new man nor the brand-new man are humanists anymore.
Ioan Pleș, the enfant terrible of the Arad-based kinema ikon collective, creates a sort of artificial Pac-Man set during the climate apocalypse, in the same playful and alert tone that rings throughout his entire output.
No Man’s Land is symbolically embodied by the forest that at first gives the impression of a young man’s idyllic refuge from urban alienation. Boundless, the protagonist cathartically culminates in mystical restitution of the self to nature, to finally confront ecstasy with wildness, and visceral impulse with the ultimate accident.
This tender documentary produced by the Sahia documentary studios uses the camera to record, disseminate and crown a botanical experiment.
Slithering in between elements of performance, pastoral non-fiction, and diaristic thoughts, mysticism slowly drips across one of the (too-)little-known films of Ion Grigorescu.
A classical entry in the output of Arad-based group kinema ikon, Dynamic poem belongs to the pantheon of iconic films of Romanian animations from the eighties, that marked a time of renewal and experimentation.