Photo of Radu Jude

Radu Jude

“[On Scarred Hearts, 2016] It’s a bit like a jazz piece – it starts classical and then it gets more disorienting, more broken. Some people have complained that there’s no story, no drama, no conflict. I like these kind of fragmented structures – in a way, they are more true to the way we understand things.”

Available to Watch

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    DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD

    RADU JUDE Romania, 2023

    Ultra-contemporary and entirely unique, Radu Jude’s anarchic film takes aim at late capitalism and internet culture with a mischievous swipe. As a dogged gig worker with an outrageous alter-ego, actor and content creator Ilinca Manolache gives a powerhouse performance in this award-winning satire.

    THE POTEMKINISTS

    RADU JUDE Romania, 2022

    As sharp as a knife’s blade, Radu Jude’s short visually quotes Sergei Eisenstein’s Soviet classic Battleship Potemkin to dissect the paradoxes of the present. Holding no punches, darkly comic musings on cinema and memory expose the sheer absurdity of artmaking under bureaucratic authorities.

    THE TUBE WITH A HAT

    RADU JUDE Romania, 2007

    Taking the film-festival world by storm upon its release, Radu Jude’s outstanding debut short roams through the muddy roads of rural Romania. Tender in parts yet never straying into sentimentalism, this snapshot of a father-son bond inhabits the realities of poverty with a matter-of-fact clarity.

    PLASTIC SEMIOTIC

    RADU JUDE Romania, 2021

    If you ever wondered what a Radu Jude-directed Barbie would look like, here’s a taste. Staging colorful toys in comic and grotesque positions, this stop-motion short lampoons the sad cycle of human life, filled with sex, consumerism, and war. In such an existence, death seems to be a sweet release.

    SHADOW OF A CLOUD

    RADU JUDE Romania, 2013

    Aiming his satirical arrow at the contradictions of religion, Radu Jude brings thorny questions of faith down to earth in this darkly ironic short. From tax forms and rush-hour traffic to customer’s woes, the daily travails of an ordinary priest are rendered amusingly, farcically transactional.

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