Graduación

A realistic Romanian drama about the struggles, compromises and implications of the parent's role in a family. This is a really intelligent, well made film that gives a bleak representation of contemporary life in Romania, particularly the youth who are told by their previous generation that they must hope and start fresh in a depressing state, though they are searching for their identities themselves. I liked that the film didn't stretch the emotional depth to a point that it seemed too unlikely or cliché but rather describe an honest family situation. It did in places fall flat but it's ambiguous ending alludes to the mysteries and uncertainty of life which serves the premise of the film nicely.

Fist of all, Romanian movies are the most unique movies I've ever seen, so they deserve to be watched and talked about among those who watch. Bacalaureat (Graduation) is an example how you can make a masterpiece without extraordinary script, how you can see the very best of acting without some special dialogues, effects, etc. For those who are admirers of Hollywood this is not a perfect thing to watch. There is nothing special in this movie, nothing extraordinary, uncommon... However Bacalaureat is one of the most beautiful thing I've seen during the last few years. Romanians should be teachers to the other directors. I'm not sure if Romanians should say "thanks" to communism and isolation during the last century, I am not sure whether this is their way to express the feelings that they've had in the past. I am sure that this movie is a diamond among overambitious titles.

Seen at the Film Fest Ghent 2016 (website: filmfestival.be/en). In the last four years, I've seen several depressing movies about corruption in former Communist countries. It seems a popular topic in the area, as can be readily derived from noteworthy examples like Durak/The Fool (Bykov 2014), Dolgaya Schastlivaya Zhizn/A Long And Happy Life (Khlebnikov 2013), and Leviathan (Zvyagintsev 2014). Even though the movie at hand follows suit on the same path, it however winds up being not that depressing as the others. Especially the final scenes brought some silver lining for the country's future, albeit that I'm not so sure it is the actual message that the film makers try to drive home.

Anyway, the running time is more than 2 hours, but I could not spot any boring or redundant scene. Everything included in the script was necessary and useful, emphasizing how convoluted the tangled web became as woven by the various protagonists. It made abundantly clear that one step causes the next step, and so on and so on, until the point that no backpedaling is possible anymore. In other words, the original policy of our lead character Romeo may not have brought him wealth or influence in the past, yet his route was straightforward and devoid of complex deals deserving counter deals to make the circle round.

The threesome family seemed a happy family from the outset, which proved gradually untrue in small steps. The case was not that their problems were unnatural or far-fetched, therefore it took its time for the cracks to become visible. Progress developed slowly but steadily. It was a surprise, for me that is, that there was some sort of resolution in the end. It countered the assumed morale of this movie (my assumption), that there is no middle road in corruption: either one steers clear of it, or one gets involved in complex arrangements from which one cannot get loose once started.

All in all, two hours well spent while watching my favorite theme develop on screen, at the same time asking myself what I should have done in similar circumstances. Such thought provoking plots are very welcome, mostly also carrying an existential takeaway message hidden under an exercise for the viewer. We were taught that Honesty Is The Best Policy, but the plot of this movie lets you get doubts underway.

In order to let his daughter escape a corrupt country, the lead character in 'Bacalaureat' has to immerse himself in the corrupt system he despises. That's the central paradox and the moral dilemma in this film. Doctor Aldea, a surgeon in a small town in Romania, has one goal in his life: to let his daughter escape to 'civilisation'. This goal has come within reach when she is selected for a scholarship in Britain, provided she passes the exams with excellent results. When she is violently attacked a few days before the exams, there is a serious risk she won't pass the test. So the doctor decides to pull some strings.

But he has to cope with the moral consequences afterwards. Is the father still able to look his daughter in the eye, after having told her all her life that corruption is wrong? And what about his wife, who has made a point of never lowering her standards of integrity, and has paid for her righteousness with a low-paid and uninteresting job? Besides, how can he defend high moral standards when he is conducting an affair with a much younger woman? The doctor defends his moral integrity: the attack is an unforeseen emergency, and so exceptions to the rule are permitted. But does he believe so himself? Things are made more complicated because of his daughter's boyfriend, and her own doubts about the need to go to Britain.

The film looks at all sides of moral integrity, and doesn't offer straightforward solutions. In fact, a lot is left unanswered, as if the director wants to say that things are never very clear, and there is always room for doubt.

Apart from posing moral questions, the film also offers a fine view into modern Romanian society. 'You'll scratch my back, and I'll scratch yours' seems to be the national motto. The film offers little hope of improvement: the only character opposing this system is the doctor's wife. But she looks utterly depressed and, as the doctor points out, has only been able to keep her high moral standards because she could rely on his position.

Director Cristian Mungiu is able to weave the many different story lines nicely together, although some scenes don't seem to be related to the rest of the story. Probably he intentionally doesn't want to spell everything out. Life itself is sometimes ambiguous, so why shouldn't a movie be?

The Romanian 'New Wave' is not that new any longer. For the last decade Romanian directors succeeded to surprise viewers and juries with their films dealing with hardships of life under the Communist dictatorship, and about the period that followed immediately, a time that carried the sequels of the dictatorship in the difficult transition that the country has undergone. It's kind of a revenge and recovery both from an artistic but also an attitude point of view, because Romanian cinema was deeply affected by censorship, and the directors of the previous generations enjoyed less freedom than their colleagues in other former Communist countries, having to either compromise, or had their movies severely chopped of, if not simply interdicted. The result was that with very few exceptions both the value and the message of the Romanian films before 1989 was null. More than a decade had to pass, and a new generation of film makers to appear in order to fix and start the recovery process. Results are however brilliant. Cristian Mungiu is one of the best representatives of the new school of directors, maybe the best. All his projects are followed with interest, and they do not disappoint, including 'Bacalaureat' (Graduation).

Interestingly enough, the films are differently perceived by the Romanian and foreign audiences, and this was clear in the reception and commentaries at the Haifa International Film Festival where I saw the film, as well as in the questions that lead role actor Adrian Titieni was asked from the audience after the screening. He was quite careful in pointing that the film should be taken as what it is, meaning one film representing maybe one facet of the Romanian reality, but not all of it.

There are two main themes in the film: First it's about the generation gap, about parents sacrificing everything for what they perceive as best for their kids - but is this 'everything' the best or even good? Same as in 4 Months, 3 Weeks and 2 Days, the film that brought him the Palme d'Or, the hero of Mungiu's latest film crosses the borders of law and buries his own moral rules in order to help. It's just that here it's not about helping the best friend, but his own kid (same them as in another Romanian production that I liked - Child's Pose) but by doing this he becomes the master of her destiny - is this really for her good? His goal is to save her from the generalized atmosphere of corruption, from the endless chain of relations the Romanian society and life seem to be built upon, but in order to save her from the system he needs to become part of it. This is the second important theme. The Romanian director seems seems to look around in anger, at his own broken dreams, at the lost opportunities of his generation who could have made a difference but did not have the courage to do it, ending in compromise.

The role of Adrian Titieni is very similar with the one in Illegitimate which I had seen in the previous evening at the festival, but more complex, and the direction style is very different. Mungiu seems to control very tight his actors and makes sure that all intended nuances are there, while Adrian Sitaru, the director of Illegitimate gave much more freedom to the actors, who could improvise and build their own version of the characters. The result is impressing in both movies, confirming Titieni as one of the best film actors of his generation.

Interestingly enough, the two movies end both in similar manners, with a still snapshot photo - in this case the traditional picture of the high-school class at the end of the graduation ceremony. Everybody smiles to the future, but what all the film told us is that the future is uncertain. Will the next generation have the courage and the luck to be the generation of the change?