Al doilea joc (The Second Game, Corneliu Porumboiu, 2014). As its countless layers masterfully pile up, I find myself most intimidated by its quest for intimacy and the way in which it strips bare merely through sound a a father-son relationship. The first’s attempt to find out the truth and the second’s elusiveness in permitting it, while the beauty of the old video images of a football game covered in snow is mesmerizing and past and present collide in the most simple, innovative, brilliant of ways.
Ionaș visează că plouă (Ionaș Dreams of Rain, Dragoș Hanciu, 2017), which osccilates between documentary and fiction, reality and dream.
Aurora (Cristi Puiu, 2010), a film utterly concerned with offscreen space, deathly sins, and, as its maker claims, with Rohmer
Tara moarta (The Dead Nation, Radu Jude, 2017), a film that takes place in its omissions and gaps