[ad_1]
RAdu Jude, one of Romanian cinema’s leading experts in punky and subversive provocation, returns with this brilliantly titled film. don’t expect too much from end of world. And as you might expect from a director whose last film was a spectacularly blatant piece of satire that won him his 2021 Berlin Golden Bear. Unlucky banging or crazy porn, the film is more or less equal parts generous, endurance-testing struggle and admirably bold and ferocious political jab at conventional cinema. I loved every furious moment of it.
like unlucky slap, the movie is divided into several chapters. The first chapter follows Angela (Ilinka Manolace, excellent), an overworked production assistant who interviews potential subjects for a workplace safety film for her Austrian client, Doris (Nina Hoss). Shot in unsentimental black and white, much of the film unfolds in profile as Angela drives around the streets of Bucharest in her minivan, playing music to rouse her from sleep. She has her satirical TikTok alter ego, her vulgar, super-macho, obscenity-spouting Bobisha. “I criticize through extreme caricature,” she explains. charlie hebdo” Chapter 2 is shot in a single still image, showing the subject of a safety video as his spirit is shattered and his story gradually shaped to fit the corporate message.
There are further small digressions in these chapters. Desperate comments about dangerous stretches of highway are followed by a montage of roadside memorials commemorating lives lost. And Angela’s story is interrupted by a clip from another film by Lucien Bratu. angela steps forward (1981), Portrait of a Female Taxi Driver in Bucharest. The theme of worker exploitation is woven throughout, but the key here is the unpredictable anarchy of the executions and the brave outbursts of ideas and anger.
[ad_2]
Source link
