For all its supposed bleakness, it is the beautifully souffle-light mise en scene that makes the film exceptional, forming the work into a giant yet discrete canvas of Brueghelian horrors, Goya spinsters, and sly black comedy.
The film that convinced me that Mungiu was a remarkable director. It's a multi-layered story of love and personal integrity, vilified and destroyed by communal ignorance. Told without an ounce of sensationalism, this real-life story explodes in your head after you watched the movie, like a timed bomb.
Movie based by real story - too real? Too static, story of girls relationship too weak, a lot of mise-en-sc`ene repetitions makes it boring.All movie like a failure attempts to dispose Alina. I want allert, that the movie synopsnis commits only the most important moments, which are not enough fot two hours long. But the lullaby sung by Voichita, really touchable. M mum sang me the same when I was little.
Is your love strong enough? Through a glass darkly, God can be made out forbidding anyone to fall into anyone's hands, including his own. But this winter may never stop, and solace needs seeking somewhere. Life is a fever, and every institution in the world is an infirmary, in which the degree of empathy displayed serves as a poor index to quality of care. Mungiu may not be condemning the leap of faith here, so long as you watch where you jump.
Masterful picture. Mungiu uses the style and pacing of 4M3W2D, but enriches it with deeper characterization and thematic exploration. I can't believe it didn't get a Foreign Language Oscar nom; further evidence of how out of touch those voters are.
A magnificent exercise in moral ambiguity and a truly insightful look at human hypocrisy and the dangers of religion as a social institution. Mungiu's signature is already evident - the rigorous mise-en-scène, the uneasiness of the characters, the Haneke-esque build-up of tension - and, just as 4 MONTHS, 3 WEEKS AND 2 DAYS, its punch is unforgettably ruthless.
Fuck! This movie packs one hell of a punch! Not as hard as 4 Months but hard enough to stick with ya long after you leave the theater. What I really liked about this film was how ambiguous the conflict was, as well as the film's stance on faith vs. secular life. This film doesn't cop out!. No real villains, just real characters and beautiful storytelling. Oh yeah, and visuals were A+. 5 stars
Cristian Mungiu uses his austere style to create an electrifying undercurrent of creeping madness and paranoia in this gripping drama about a young woman who comes to visit a childhood friend in an orthodox convent, and is slowly driven mad by a world governed by arbitrary rules without question and with little understanding of simple spirituality. A haunting and thought provoking entry into the Romanian New Wave.
Driver 1:"Will this winter ever finish Sir?" Driver 2:"It will pass, it will pass. Driver 1:"It will break all the asphalt before it passes...."
Romanian cinema produces fascinating movies from time to time. "Beyond the Hills" is one of them. The work is a worthy combination of good acting, screenplay-writing, and direction--my full review is up at http://moviessansfrontiers.blogspot.in/2013/02/139-romanian-director-cristian-mungius.html Certainly one of the top 10 movies of 2012 for me!
I want to start off by complimenting the style of the film. Each scene is one, long take. He never cuts within a scene and it is very effective. Everything is played from understated, objective wide shots. Mungiu does wish to manipulate the viewer, he simply lays the story out for us to watch. The story is interesting but it gets repetitive. It ends up feeling a bit too long, despite good characters and writing. 4/5
Like 4 Months, Mungiu - unlike Seidl, say - is rarely exploitative in his depictions of social dysfunction in Eastern Europe, but contiguous to the society; here bringing his moral plight to the present, now framed against the orthodoxy of the church, as a final sanctuary in a world of toleration. Showing complexities beyond mere zealotry, the film however feels laboured, and more erratic a study, partly in reflecting its volatile course. A pallid follow-up, then - one of piercing moments, and a conclusion that nevertheless affirms Mungiu’s wider outlook.
After watching it I realised I have to rewatch 4 3 2. Beypond the Hills seemed to me like an eurasian Arthouse, that hadn't almost no boundaries to Romania. It is extremly intense and probably on a language level, the best Christian Mungiu has ever made. The black robes of the nuns render the images unusually graphical for new romanian cinema.
Cristian Mungiu hits again, this time putting his unique lens and meticulous cinematographic exactitude in love, religion and faith. The awards in Cannes were clearly rightful and, of course, a partneship with Oleg Mutu continues perfect: the contrasts dark / light = faith / lack of faith it´s an excruciatingly beautiful. Love is a religion and the hell is full with good intentions. One of the best films of 2012