Balaur

For me, this film was about being honest with oneself. There are few people really alive in this world. The majority cling to to beliefs and rules for the wrong reasons, but not out of sincere yearning. We are able to sacrifice anything for these beliefs because we are very insecure and the search for the pure truth or the true self gives us headaches. The discussions at the dinner table were the most eloquent in this sense. There was laughter at these scenes, although they were certainly not intended for humor, but they created this reaction because they overlap some cultural stereotypes, which once you see them, you can't help but make fun of them. If you are the type who wants to learn a lesson after watching a film, I suspect that what remains with you after this film is that the sedimented frustrations due to customs, restrictions and hypocrisy can lead to very dark situations, most likely with many collateral victims. Zavatos.

The fear of infidelity is the theme of Balaur (2021), based on a real from Piatra Neamt, where a religion teacher, wife of a priest, was involved in a public scandal after a relationship with one of her students. Because Transilvania Film Festival offers this extraordinary opportunity to meet the makers of a film immediately after the screening, Balaur (2021) seemed to me an even more impressive directorial debut listening to the way Octav Chelaru argued his cinematic choices and seeing the unity of his team of actors including Alexandru Papadopol, Sergiu Smerea and Mãlina Manovici, protagonists who, I have no doubt, will receive some awards for this interpretation. Liana Alexandru.

The slow pace, deliberate classicism, and thematics of this debut film would easily serve as arguments for shipping it off as "another one of those East European dramas" that have been practically mass-produced in recent years. This would be to overlook the fact that Chelaru's feature film unmasks the patriarchal workings with astonishing maturity, often at the turn of a shot or a dialogue.

Passed under all the major radars, this story about the perilous relationship between a Religion teacher married to an Orthodox priest and one of her underage students certainly does not have the subversive charge of a Radu Jude, but can boast of a beautiful suspense where we can guess the influence of Michael Haneke.

This film exceeded my expectations and the group of filmmakers who did this have a lot of potential!

I didn't think it was mediocre at all, the performance of the main actress was excellent, you could feel that constant tension, especially in the scene when she was looking for her son and was teaching him how to cover her lies. She transforms very unexpectedly into a different person she couldn't know she could be.

The ending was somehow surprising and served exactly what it needed. It made me think and it still does. There are lots of interpretations for the final scene and I recommend everybody to see the film and find the suitable meaning for themselves.

Tonight I saw Octav Chelaru's debut feature film, which is based on (or rather is inspired by) a real love story with a tragic ending, which happened some years ago, between a priest's wife and a high school student. The story ended with the suicide of the young man.

I won't narrate the movie here, just a few highlights.

The film has all the characteristics of the low-budget Romanian film, which relies a lot on the psychological mindset of the characters, in order to impress the audience! With all the good and the bad that derives from here!

The film has a good flow, it is not preaching anything and it's quite honest, not forcing the viewer towards limited interpretations.

I still don't know what to say about how believable the characters are presented. Maybe because of my familiarity with the setting, maybe because of the exceptionality of the story.

Dialogues are, most often, natural; sometimes slightly touched by hysteria, as in all Romanian films. Or maybe it's just my feeling...

All in all, it is not an anti-clerical film at all! On the contrary! Beyond some awkwardness, the church, the priesthood, the priest's family are approached very respectfully!

It's a film about wounded and unfulfilled eros, maybe also about a confused past of a woman, maybe incapable of happiness, maybe forced to live a life that didn't make her happy!

But more than that, I think it's about the devastating effect that migration and the lack of family love has on children and teenagers!

The conclusion drawn by me, let's call it "moral conclusion", is that man without love is nothing and tends towards self-destruction. The lack of love places the soul in an entropic desire, which, at best, destroys destinies, and at worst, puts the equal sign between life and death!

I say it's a movie worth seeing!