Aferim!

an old story. about a society and its people, traditions and every day life. a film who reminds a world who has only reflection for a lost age. same brutal language like many Romanian films after 1989, the same desire for appreciation, using dark clichés. . but a special message. like a testimony, a kind of parable, as a bitter story about life, world, destiny, justice and faith. Radu Jude does an good work.with a profound commercial purpose. but he explores the profound manner to discover/define an universe who describes the habits of present Romania. so, a gray movie , decent performances, nice script - puzzle of old writings, songs ,careful documentation, delicate traces from Bergman, trip in heart of a circle who remains frame from Balkans. a film who could be a deep subjective history lesson. in fact, only support for reflection. about the roots of present.

I'm of Romanian descent, so I'm not entirely objective on this, but as far as film can actually change perceptions of how we see the world around us, "Aferim" is without a doubt an unmatched masterpiece and an absolute first in many ways.

It's a rare Romanian historical drama set before the 20th century (with the exception of historical biopics of communist era). It's thematically a Western (or Eastern), since it involves a long journey on horseback, strongly and intentionally recalling "The Searchers". Most importantly, it's an endless series of interchanges with representatives of society back then, by which virtually every social problem of the present day is touched.

The genius of this film is that it follows a timeline, through which the spectator is at times bemused and at times horrified by the behavior of the main protagonist, a constable charged with capturing a runaway slave accompanied by his inept son. In a thoroughly realistic way unlike any historical film I have ever seen, we see him treat priests and nobles with respect and peasants and Roma with indifferent cruelty. Sometimes he shows a conscience, as when bonding with his son or asking the slave owner for clemency upon returning him. Sometimes he is shockingly ruthless, like when he sells a Rom boy they also picked up to a passing noble because he wants to afford drinking and whoring.

Not only is this the first portrayal of slavery in Romania, a topic not taught in schools and therefore quite controversial. It is a completely naturalistic portrayal as well, unlike any emotionally charged tales out of Hollywood. It easily beats the credibility of "12 Years a Slave", because Jude maintains a sardonic, matter-of-fact narrative instead of drenching his film in moral lessons about the nature of good and evil. Teodor Corban delivers his cop character as a product of his times, with no judgment or exoneration of his actions. If there is one slight weakness at all, it's that the dialogues are sometimes very fast and probably very difficult to translate. As a Romanian raised abroad, I found myself guessing at roughly half of the vocabulary, and even though I got most of the irony, I would not know how to explain it to foreigners and keep the meaning intact.

"Aferim!" means "Excellent!" as a Turkish exclamation (recalling that Wallachia at he time was a vassal to the Ottoman Empire - when the constable sends a Turkish carriage the wrong way to spite the Turks, this is how his son praises him. So the title perfectly describes the film in one word - a tale of a time when the ignorant hated everyone else, not realizing how similar they were. When the privileged few treated the abject poor as mere objects, aided by the apathy of commoners, who could not imagine any alternative. This horror mixed with irony resonated strongly with audiences, and would certainly justify a foreign language Oscar next year.

Being based on lots of writings from that era, I suppose that this movie reflects a fair image of life in Tara Romaneasca (Wallachia) of the 19th Century, with its' patterns and prejudices. It probably does some justice to today's Romani, when Europe encounters them again and there is no narrative to explain who their ancestors were. And maybe it does some justice to today's Romanians too, when the European public finds out what is the distinction between Romanians and Romani.

The movie can evoke amusement, disapproval, empathy. However, the spectator discovers more and more that comedy turns to tragedy.

I appreciate the fact that Aferim has complex characters that are not entirely positive or negative.

What critics and audiences call 'the Romanian New Wave' is not that new any longer. Already in its teens it has focused on the present times, and the recent past of Romania - the last decade of the Communist era and the 'transition' period the country went through after the fall of the Communism. By doing so it neglected a tradition built into the history of the Romanian cinema - the historic movies. The first grand Romanian movie made more than a century ago was already a historic film, bringing back to screen the War of Independence of Romania in 1877 several decades after the event. The genre was taken over and polluted in the Communist period by many films which not only brought on screen heroic episodes and heroes of the Romanian history but also distorted it on the lines of the National-Communist propaganda of the regime. This may be the reason Romanian directors, producers, and audiences as well avoided the genre for a while. It is only in the last few years that historical themes came back to screens in more significant movies - the war period and the Holocaust first. Now 'Aferim!' by Radu Jude goes further back in the past, to the first half of the 19th century. His film (blessed with an important prize at the Berlin Festival early this year) however has also strong and explicit implications in the realities of today's Romania as well.

Folks who know the history of Romanian cinema and remember some of the films made decades back will recognize elements of atmosphere and quotes. The 'Eastern' genre which took the structure of the classical American Westerns bringing on screen local characters or even changing the landscape to the fields, forests and mountains of the Romanian countries was popular in the 70s with the 'Haidouk' series but also in the works of Dan Pita (the 'Ardelenii' series). The inspired black and white cinematography credited to Marius Panduru and the very conventional generic that opens the film brought in mind the even older 'Tudor' by Lucian Bratu made in 1962 which dealt with events that took place 14 years before the year 1835 when 'Aferim!' is situated. The violently naturalistic nature of some of the scenes has also its roots in the Romanian literature (Liviu Rebreanu's novels) which were also brought to screen.

Yet, this film aims more. The story of the local sheriff (let us use this name for the sake of the international audience) and of his son searching for a fugitive gypsy in the forest and swamps of Wallachia is not just a road movie or an initiation story from the perspective of the young lad destined to inherit the profession of his father. It is a deep and cruel reflection of the prevailing attitude not only of the ruling class but of the whole or great majority of the population of Romania towards other nationalities. The story and the characters come in a frontal manner against deeply rooted stereotypes like the welcoming attitude of Romanians towards strangers or the positive role of the Orthodox church in the moral fiber and education of the masses. It is actually a priest who speaks on screen a tirade full of prejudice against all categories of strangers living or getting in contact with the Romanian at that time - Gypsies of course, but also Jews, Turks, Russians, etc. Folks less familiar with the history of Romania should know that by 1835 Romania was still broken into smaller countries under Turkish, Austrian and Russian rulers - so what is seen on screen has a historical perspective. It is however the relation with the present that comes in mind immediately for those who know history and present. Romania as other East European countries have a big social and ethnic problem with the lack of integration of part of their Roma (gypsy) minorities. The roots of this situation lay to a great extent to the slavery practiced on this minority until mid 19th century. Slavery was abolished (in 1855-1856) but prejudices stay.

The merit of Radu Jude is to avoid any excuse or sweetening of the historical facts, while telling a coherent story and creating characters who are not only credible but also memorable. He carefully builds the atmosphere, habits, language of the time in a well documented manner. He is helped by a fine team of actors - Teodor Corban and Mihai Comanoiu as the father and son, Toma Cuzin as the fugitive (would have deserved maybe more screen time to give more complexity to his character), and Alexandru Dabija as the cruel but credible landlord. Two of the best actors of Romania from the older generation Victor Rebengiuc and Luminita Gheorghiu appear in short roles, which shows that even important artists were interested to be part of this cinematographic experience. I feel that 'Aferim!' is a film that was much talked about since its release, and will be even more talked about in the future.

A runaway gypsy slave in early 19th-century Wallachia is hunted down by a constable and his son in Radu Jude's most accomplished and original feature yet, "Aferim!" In his two previous films, Jude's leitmotif was people's inhumanity to one another, full of power games and humiliations. Here he stays true to the theme, using this black-and-white oater to trace the roots of Romanian society's less positive characteristics. While its tone is occasionally overly strident, "Aferim!" is an exceptional, deeply intelligent gaze into a key historical period, done with wit as well as anger.

"Aferim!" is an Ottoman Turkish expression meaning "bravo!," a word used with deep irony in the film but one that can equally be directed, without any irony, at the director. A great deal of the freshness lies in the way Jude dispenses with traditional historical-film trappings even while cleaving to the classic structure of fugitive-hunting Westerns.There's nothing staid or prettified here, and while a significant amount of background research is on show, the helmer uses it to re-create an atmosphere rather than a specific, sacrosanct event.