2,5 Can just hypothesize if Porumboiu wished to extemporize on the noted Hasidic account regarding the man who enrolls in a faraway town treasure hunt and learns that wealth is hidden at his home (Costi's family), or routine perusing through knights & open-handed outlaws stories determines a Quixotesque transformation into one, or the ending proposes what nasty clichés about E. Europe preclude (voice in the audience:
Unlike his previous film, the meta-narrative doesn't appear as an exclamatory feat but only while a dilutive process of the pettiness of the world in its fictions. Gradually, we move from the banality and poverty of everyday life to a metaphor of accumulated wealth, capitalism and human greed as a generational inheritance. With a final ascendant crane movement to the place where the humor's look lies: in morality.
What might seem slight and lighthearted on the surface holds a surprising amount of depth on closer examination. As the everyman continues to slowly collapse with the ongoing worldwide economic outlook this wry parable holds much interest. Exceptionally well written by the director more in spirit with the earlier '12.08' than his subsequent works.
Ah, the dry-as-dry-can-be humour of Eastern Europe. Porumboiu is definitely a genius of the understated comic folly, as has been well demonstrated in his body of work. He has a keen eye for how we occupy our world when we are only passingly engaged; we the hunched, the trod upon. We, the aspiring dropouts. The Treasure is as close as he gets to allegory. The final gesture says it all: totally absurd, means well.
The plain, absurdist script contains a few wry commentaries on politics, economics, and history, keeping the film minimally interesting. However, the dragging excavation and the moments that preceded it were a bit discouraging in terms of fluidity, almost putting me to sleep before the ultimate stimulus. (2.5 stars)