Câmp de maci

This is a brave and poignant movie. It is very simple in its pace and setting and could easily be set for a play.

We know from Polish and Georgian movies that it's very complicated to be openly gay in Eastern European countries. Poppy Field is another illustration of this fact.

Cristi is no hero and no victim. As many closeted gay men, he is caught up in his contradictions and spends a lot of time and energy lying to himself and to the others around him. But you can only maintain the façade for so long, and then cracks start to show. The path to authenticity seems like a crucifixion, and the homophobia expressed in the movie is closely associated with Christianism.

My favorite scene is when Cristi is left alone in a red, empty movie theater. We can feel the tempest going on in his skull. His career, his privacy, his life are all at stakes in one day.

A great movie about resilience, bad faith, and sexual minorities.

Maybe, the naked realism remains the basic virtue of this film . A form of realism defined first by language. I suppose, only a Romanian can understand, in real and proper manner, the entire pressure of situations, language, dialogue .

A jandarm and an intervention in a delicate case.

A presumed ex-boyfriend recognize him and having the foulish inspiration to remind to him the past. And the brutal, for me not exactly illegitimate, reaction of jandarm. The rest is the expectation of Cristi about the decision of his supperiors about the violence act of him.

At the final, you discover a courageous and deep honest film, different by many others offered by Romanians directors in the last decades.

Sure, the language is fruste, but it is not exactly a gay movie, an image of Jandarmeria or portrait of a man in difficult , stressed situation.

It is just the portrait, clear, precise of Romanian society. And this is the motif to appreciate it , like the impressive courage of director to propose a sort of mirror front to the viewer.

Presented in gentle manner. A group of men, a.

Somewhat interesting story of a gay police officer caught in a conflict during a police interaction with homophobic radicals in a gay movie theater. The conflict is that there is someone in the theater who knows this police officer & that he is gay & there is a minor altercation between the two. The rest of this very short film contains extremely vague, seemingly purposeful, one on one dialogue between various police officers ending with the most unusual, puzzling and, of course, vague line in the film. In all honesty, I am not at all sure what this is trying to say, but it is somewhat interesting contemplating it's possible various meanings. The acting is solid, but the title is also unclear.

It is scary to see the Romanian reality that some of us know so well displayed on screen in such strong tones. For me, being a victim of a similar assault as portrayed in the movie, it was familiar and disturbing, at the same time. I commend the creators of this movie for their courage. The Romanian society still is exactly as we see it on screen.

The film threatened to be one of those two-parters that quickly slide into boring irrelevance. All the elements were there, the closeted Romanian guy, his Kabylie boyfriend from France and a fleeting visit from a nosey sister who thought her brother was going through a "gay phase".

The two lovers are happy together but there are problems. Hadi wants to go out and about but closeted Cristi wants to keep their relationship, indeed Hadi's existence, under wraps. We are not aware of Cristi's job during the scenes in the flat where the two guys are staying so his reluctance to risk an outing (in both senses of the word) is difficult to understand. Even when the film moves unobtrusively to Cristi's work, we are not sure what it is as the shots showing him do not at first reveal his gendarme uniform.

The unit is going to a cinema whose showing of a film about lesbians has been disrupted by a load of nationalistic god-botherers. Although both the police and the gendarmes try to appear neutral on the surface, when they feel they are not being overheard they make hateful and homophobic statements, Cristi included.

One of the gay guys implies that he will reveal Cristi's orientation leading to a confrontation that is only solved by long negotiations with the cops.

This much is revealed in the storyline provided by IMDB so not a spoiler.

Cristi feels that this is a disaster and we watch his feeling of doomed terror for the rest of the film.

The cleverness of the film was to concentrate on the dynamic at work rather than that of the relationship. Relationship films have been done to death. However, films whose gay characters interact in a macho and illiberal environment such as the police or gendarmerie have not.

Conrad Mericoffer played a good role as Cristi, a man who senses that his life is spinning out of control. He well portrayed the increasing desperation of the character needing to know the results of the confrontation. He was convincing in the earlier, tender scenes with lover Hadi and just as real in his role as macho man conforming to canteen culture.

The film was a compact eighty minutes long and was just right. We are left with a final comment from his boss that might mean something or might not. Had all the cover up that Cristi had maintained over his life at work been rent away? We shall never know.