Paul Hanganu loves two women. Adriana his wife and the mother of their daughter, the woman with whom he’s shared the thrills of the past ten years, and Raluca the woman who has made him redefine himself. He has to leave one of them before Christmas.
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Mungiu's long-take reflects suffocating reality in Romania then and now, Porumboiu's gazes into passing time with intensely zen-like touch & dead-pan humor, Puiu's embraces our world shrinking/extending drastically as a floating ghost. So Muntean's long-take, most sophisticated one captures picturesque moments from ordinary people's daylife. That dentist scene is like renaissance art of long-take, exaggerated? haha.
Novelistic attention to detail and taste for the duration of its character's feelings make up for generally unlikable characters and a well-worn story. Although I don't like it much, it has the concentrated yet cool and removed gaze of a great film.
I've always had a soft spot for the Romanian New Wave, and even though there hasn't been a really great film to come from the movement since 2008, Radu Muntean's TUESDAY, AFTER CHRISTMAS is pretty close. It's an austere infidelity drama about a man who falls in love with his daughter's dentist, and watches as his family dissolves around him. A poignant and honest examination of adultery's effects on its victims.
A wonderfully realized film in so many ways, but at a point the studied naturalism and believeable acting in the story needs something more... a higher thematical understanding or an emotional impact beyond the practicalities that the characters choose. In the end, the film becomes a description - not an understanding.
People...talking. I was struggling to keep going halfway through the film, and then the whole weight of it settled. Despite the modest running time, it is a bit of a marathon to watch. But, by the end I was floored. Can't stop thinking about it. This takes realism to a whole other level, in that the characters are absolutely completely normal people, and instead of being boring, it makes it that much more powerful.
wonderful how first and last shot make full circle!
the first showing intimacy between bodies, when two lovers can play and laugh touching each others, while the last one show complicity transforming the most natural daily routine in a coreography between two dancers (they don't love each other maybe, but they are entwined).
Una película sobre la crisis matrimonial, sin crisis. El gran logro de "Martes..." tiene que ver con esa necesidad de no provocar un drama en potencia. Una pareja matrimonial se verá interpuesta por una infidelidad. Esto no generará ningún efecto trágico o funesto. Muntean apela a un drama controlado sobre una pareja que dentro de la complicada situación reacciona razonable. Un cine íntimo sobre la rutina colapsada.