A mishmash that it can play intelligible only as a surreal story or a Sci-fi. With a more astute story focused on Sascha, by playing the real with the unreal, backed by Sitaru's hazy artefact style, and gliding on the path opened by the philosophical rant of the movie, we could have had a real Moebius strip on our hand, or even a parallel universe, a touching story, and a real and depth experience.
Sitaru’s style is plagued by an intensely televisual aesthetic, especially when compared to many of his more visually severe and provocative fellow Romanian directors. Despite this, his actors and this film’s morally provocative, surprisingly funny and unsettling screenplay more than overcome its formal limitations. The ending, in particular, left me astonished by its strict refusal of any punitive moral conclusions.
The usual in Romanian Cinema: magnificent actors playing realism; a camera no matter where, as long as it is on top and next to them, establishing horrendous raccords and reframing zooms, filming fracturing subjects in current Romania: abortion, once more, and incest. The end is reminiscent of those TV series that teach us a normalizing behavioral philosophy. It should be followed by an adequate debate.