Interesting moral conflict, not a black and white matter. Would rather have had a well-defined ending instead of an ambiguous one - a sad disclosure would have been more powerful. Love how the only smile happens at the final and it's still not truly genuine. Clever use of sound. Romanian is the forgotten Romance Language, but it's nonetheless beautiful. (What shifts does Romeo do? The dude's barely at the Hospital!)
74/100 (Kitap gibi diyalogları güzel ve realist bir film. Ancak konu olarak çuvalladığını düşünüyorum. Ne kadar rüşvet sıkıntılarını, ebevynlerin çocuklar üzerindeki aptalca etkilerini güzelce anlatsa da. Senaryoda büyük boşluklar ve saçmalıklar mevcut. Yorumumda yazacağım...)
Resonant in terms of the pressures of credentialism and surgically acurate about social malaise/inertia in contemporary Romania, this film concedes cinematic aesthetics (there are only few shots of genuinely semantic valence [e.g. the finale]) and places all narrative load on the shoulders of a continuously sullen Titieni. This proves unfair to the actor and potentially disengaging to the viewer. Good but weak.
romanian's new wave is eating its own tale. cringe just recalling this movie. no-one smiled in this story, even for a second ! the fact that this huge boring mutant received some awards in cannes and puiu's superior "sieranevada" got nothing back then shows how incompetent (and perhaps on crack?) members of cannes jury were that year.
A feel-bad movie from what seems to be a very dreary country... with a thriving Cinema. Is it the comfortable life here in USA that makes our Cinema so weak? Does hardship beget better art? Does poetry come from sadness more easily than from contentment? Or is it not really joy but just the smug nature of life in America which dulls our Cinema? Or the need for greater and greater spectacle, forsaking meaning & depth?
A slow-burn mystery couches an implosive portrait of institutional rot. That description sounds incendiary, and Mungiu certainly doesn't hide his feelings about the state of Romania. But his film is also one of deep empathy for those living in a world where personal/political corruption feels like the only answer. No wasted scenes—just a potent hope that the problems of the last generation can be sorted by the next.
GRADUATION is quintessential of the Romanian New Wave in that it deals so directly w/ the kind of blasé workaday corruption which transverses Romanian society as depicted again and again in its contemporary cinema. What makes GRADUATION very strong -- much stronger than BEYOND THE HILLS -- is its marriage of this vision to a residing moral ambiguity. This is not farce nor is it excoriating screed. It is human.
The first half works really nicely as a procedural leading us through a corrupt bureaucracy. I loved seeing the blurred edges of the state sketched out in this way. However, the second half sags under the weight of the overemphasised civics lessons and useless domestic emotions.