Más allá de las colinas

Mungiu has managed in his films a perfect balance between portraying specific Romanian social-cultural issues and in the same time rendering them universal for the public abroad. He touches some of the Romanian taboos like the Orthodox church and its often brainwash practises, the efficiency of God-like doctors or the dark side of some of the do-gooders in social aid and work. The irony is that while all the characters in the film proclaim often and loud that they are sympathetic towards the orphan girl they are also the authors of her greatest abuses , from financial rip off to medical neglect or physical restraint .The system itself is rejecting the poorest and most vulnerable young people as is pointed out throughout the film by the recurrent motif of 'we have nowhere to go' leaving them in the hands of an often merciless world .In the very best of tradition of the superstitious Christian Romanian culture the real problems are avoided as they will throw a negative light back on everyone so it is easiest to blame all on evil spirits .The last scene gives a great insight into an emotionally devoid society , when such individual drama will become another media circus headline.

A girl visits a convent to try and bring her friend home.

Starring Cosmina Stratan and Cristina Flutur.

Written by Cristian Mungiu. Inspired by the Non Fiction Novels of Tatiana Niculescu Bran.

Directed by Cristian Mungiu.

This is a dark and disturbing movie that would have been far better if it wasn't so slow paced.

It moves at a snails pace but maybe that's what Cristian Mungiu intended, after all I'm guessing that's how things flow in a convent. The story isn't bad and as far as I could tell ( this was a Romanian movie with English subtitles) the acting was okay without being incredible.

I liked the outside location cinematography but the indoor stuff looked a bit wobbly. This is an arty film and usually I like anything like this but for me this was too slow and bordering on boring. For me it lacked something but I'm not sure what. Maybe the relationship between the two main characters could have been explored more to make this more watchable? We only get a few suggestions of a love affair in the past between them both and so perhaps that's what this movie needed.

It does make you think. It's pretty much an anti religious movie and that's the message that came across clearly at the end.

7/10

A complex story plot describing a tragic division of life paths of two female friends who found themselves either into grinding mill of bigotry in church structures or into that of a cold bureaucratic apparatus. This poetically told story leads us through meditative winter landscapes and dark interiors of the monastery where, besides obvious social issues, one can vaguely discern a disturbing relationship between the two friends consisting of perplexing resignation and self-destruction. The success of this work lies in the abundance of details which bring the audience into contemplation about human nature.

A KVIFF viewing of Romanian auteur Cristian Mugiu's latest gripping modern exorcism tale which has garnered two wins in Cannes this year, a BEST SCREENPLAY award and the young pair Cosmina Stratan and Cristina Flutur shared Best Actress honor, which staunchly vindicates Cristian's consistent excellence not only in his fine-tempo and well-pitched directing bent, but a robust script and ultra-overpowering cast as a whole superlative pack.

Like his breakthrough chef-d'oeuvre 4 MONTHS, 3 WEEKS AND 2 DAYS (2009, a 9/10), the film anew grapples with the contentious subject-matters (this time it is about religious belief) and assigns two young girls in the main roles. The film acquaints its viewers with a secluded locale, an austere monastery (with no electricity and utilizing well water for example) is in stark contrast to the contemporary modernity, then slowly unwinds a tug-of-war in the name of love between God and human, a hapless destiny falls upon 2 girls from the same orphanage, one has become a pious nun so far, yet another is an obstinate non-believer, who chooses God as her love competitor and defies any compromise.

There is an unremitting impulse of captivation throughout the entire film which successfully banishes the awareness of its 150-minutes length. One of Mungiu's trump card is his virtuoso camera deployment, which has again fixated on a well-organized angle, especially in the indoor scenes, all the inconsequential items have been placed into incessant expositions of still paintings.

A strong-arm tension has been outstandingly established among three main characters (the said two girls plus the priest), although a few well-worn plot twists-and-turns may not survive the hindsight, however the eventual repercussion is nothing if not astonishing.

Much accolades should be granted to the film about its no shade of grey amplification of managing the thorny issue, the clear-minded of eschewing any grandiosity with a telling coda, which can never be less appreciated among cinephiles.

Well,I wanted desperately, not to like, to love this movie... All the premises were there, I couldn't wait for the film to be released... But, as the film was developing in front of my eyes, I was completely feeling less...No attachment to the girls, I didn't even care for one damn second about any of them, the film scratches everything that is supposed to carve upon, the director seems in a hurry to reach something that slips between his fingers...I felt no compassion for that girl, in some moments I was about to scream to her, get out of that place, girl, return to Germany, live your life and put ourselves out of the misery of watching this movie!And one more thing. The performances of both girls, cumulated, multiplied by 100, they never, ever, never ever, are any close to the magnificent performance of Emanuelle Riva in Amour... So , Nanni Moretti, I don't really know what came to your mind when you gave that award to these two, frustrating the beautiful Riva of that super-deserved award