Insightfully trilling execise of time and lies. Perhaps its long-take is more intense, effective & I-concentrate-on-deeply than Porumboiu's other movie. So finally, I've watched Porumboiu's all feature and I Love them so much (less "The Second Game", but want to rewatch)
Bu filmi sevemedim. Sevmedim. Sevmeyeceğim. Yarısında bıraktım. Neden mi sevmedim? Toplumun ve insanın çürümüşlüğünü baz alan ve insandan iğrenen bir bakış açısı benden uzak dursun. Evet, çürüme her yerde var; ama, sevmeme halini kalıcı kılmak bir çözüm (veya sanatsal bir bakış açısı) değil değil bence.
Película de asimilación. Porumboiu va soltando de a pocos las intenciones de sus personajes, sus pensamientos y secretos. A su paso, irá manifestando un discurso personal sobre el cine, sobre la forma, su concepción, la sensibilidad sugerente, cuestiones que por cierto se ponen en práctica en sus personajes. Está también ese significante del malestar metabólico como prueba de un engaño manipulado, editado.
In a time when the process of painting is considered the painting, when the process of film making can make a film, in brief, when the ontogeny of an art work starts not with its accomplishment, but with the first sketchy steps one takes to make it (with every ‘evolutionary’ phase seen as a distinct, accomplished chapter), Porumboiu’s disconcertingly ironic reflexion on incompleteness and the always troublesome
Both realistic and self-aware. In fact, the indiscernibility between the two is what makes it so fascinating. Listen to the dialogue, it's all there. How do we relate to reality? How is this relating shaped by the tools we (don't) use? What's fake and what's genuine? Is there a difference? Don't get too distracted by the (thematically fitting) reference to Antonioni, this film has much more to offer.
The meta-narrative that reveals to be self indulgent. Apart from the opening sequence, in which its whole program is revealed, there is nothing interesting in this film: no shot, scene, dialogue, idea. His previous film, in its organicity, exposed more speech on (and about) cinema, doing it, than this one, without being demonstrative and awkward. And it's useless to suggest a proximity to Antonioni for an affinity.
Here in the Anglo-American world, satire has been worn down to a blunt edge; this movie, with its incisive piss-take on the ethics of filmmaking, was a much-needed tonic. The combination of scene=shot and Scope framing is theatrical and cinematic in beautiful combination. Another long-take film that shows up the dusty, pernicious opposition between realism and formalism.
TIFF '13 Porumboiu again shows his mastery of screenwriting with this wry, knowing examination of a filmmaker slowing down his production so he can prolong his affair with one of the actresses. A conversation piece of the first order with the banality of chitchat often becoming quite sublime. Never dry and quite humorous featuring game performances by leads Dumitrache and Avramut.
Someone asked me if a director has to do all those things. Definitely yes if we're talking about Porumboiu's characters. This 4x4 (+one) open tableau marks the classical terittory of a professional, gloomy director whose vital philosophies come down to a mud of nothingness. However, the main focus is his relationship with the young actress, or, even better, his mystification of this superficial relationship.