Il caso Kerenes

The Romanian film Pozitia copilului was shown in the U.S. with the title Child's Pose (2013). The movie was co-written and directed by Calin Peter Netzer.

Luminita Gheorghiu stars as Cornelia Keneres, a wealthy woman who dominates everyone with whom she comes into contact. Bogdan Dumitrache plays Barbu, her adult son, who clearly grew up under his mother's thumb, and has barely managed to achieve some measure of independence. However, Barbu has been involved in a fatal car accident in which he has killed a child. He's paralyzed with fear and regret, and that allows his mother to step back into his life to try to keep her son out of jail. (Barbu wasn't drunk when the accident occurred, but he was speeding and probably driving recklessly. We all know he's guilty.)

It's hard to have much sympathy for Barbu, who is sullen, uncommunicative, and somewhat strange. His intimate partner, Carmen, is about to leave him, because she can't tolerate his behavior any longer. (Carmen is played very well by the capable actor Ilinca Goia. She and Cornelia have an interesting--and intimate--conversation about Barbu. It's an extremely intense and unsettling scene.)

Of course, you could argue that Barbu is what he is because of his mother. It's a reasonable argument, although we can't be certain. In any event, Barbu, if left to his own devices, will go to jail. His mother defends against this possibility with all the ferocity of a mother tiger defending her cub.

The director makes it clear that in Romania--as in most places--money talks. Cornelia sets about to bribe the witness, bribe and bully the police, and manipulate the dead child's grieving parents. In fact, the only honest and untouchable person we meet is a young policewoman, and no one pays any attention to her.

This is a dark film about a dark situation. What makes it worth seeing is the outstanding performance by Luminita Gheorghiu as Cornelia. Gheorghiu was the star of the excellent film The Death of Mr. Lazarescu. In that movie she portrayed a working-class nurse, trying to save her patient and always facing closed doors. In this movie she is an elegant, sophisticated, architect, trampling over everyone to protect her son.

The parts are very, very different, but Gheorghiu has the talent to make us believe in her character in both roles. She is truly an incredible actor, and the film is worth seeing just to watch her on screen.

We saw this movie at the excellent Dryden Theatre at George Eastman House in Rochester, NY. It's primarily an intimate film, and will work very well on the small screen. In whatever format, it's worth finding and watching.

Do you know these films where everything - acting, shooting, story telling, directing - works together to emerge into a clear message? This is such a film.

Reading bad reviews upfront, was afraid about getting bored from being too long, or dizzy from excessive use of hand held camera. Happy to report none of them apply. Instead, last frame was finding me quite surprised about how fast it was finished.

This film reminds me very much of "A separation" of Farhadi. They touched me in the same way, although the stories were different. That is because both stories are just recipients for emotions.

And in the end, this movie is full of emotions, human, universal, atemporal emotions. And that is what makes this film great.

If I'd have to put my money on which film will win the Berlinale this year, I'd say this one, and not because I was born in Romania and share the ethnic group of director Călin Peter Netzer (even though I cannot say for sure that this fact does not influence my judgment).

The story: Cornelia, a middle-aged high society architect, is informed by her sister-in-law that her son Barbu has killed a child in a traffic accident, and both immediately proceed to the police station where he is being held for questioning. They barge into the interrogation, all the while phoning useful contacts, and manage to change Barbu's statement, after which they take him back to his parent's house. In the following days, Cornelia develops various schemes to get Barbu off the hook of a trial, receiving unexpected support from Barbu's wife (or girl-friend) Carmen, even though they thoroughly hate each other.

The accident itself is not the main story. It serves as a backdrop for highlighting the blatant disregard of the rich for the poor, the pervasiveness of corruption in Romanian society, and to illustrate how possessive and self-serving Cornelia is. Most screen time is devoted to Barbu's 'cutting of the post-natal umbilical cord', his sometimes desperate, mostly half-hearted attempts to gain independence from his overprotective mother.

The strength of the film lies in the ambiguity of its characters, foremost Luminiţa Gheorghiu's Cornelia, which she brilliantly portrays as a vicious self-obsessed diva totally immune to the plight of others, and who is still thoroughly devoted to her son. The viewer is torn between disgust and pity for her, for instance, when stopping in front of the killed child's parents, she exclaims 'Damn, it's one of the better houses', indicating that her only interest is to buy the parents' consent to revoke their claim against Barbu. Yet when sitting with them at a table, she so tearfully describes her plight that one cannot help but feel moved. Barbu, on the other hand, is a hypochondriac and coward, who for most of the time cannot admit to what he has done, but when he argues with Cornelia to back off, one cannot help but wonder how he could have turned out any other way, given the obsessive nature of his mother.

The real icing on the cake, however, is a brief scene between Cornelia and the principal witness to the accident, whom she hopes to bribe. Vlad Ivanov (of 'Doctor Bebe' fame in '4 months 3 weeks 2 days') once again plays a cynical ruthless character who confronts the female protagonist with the fact that the situation forces her to do precisely what he wants - well, maybe not quite. This scene is the best of any Romanian film I have seen in the past five years and merits the price of the ticket alone.

What may elude a non-Romanian viewer of this film is that the title itself is also ambiguous, 'poziţia copilului' being a wordplay with 'poziţia corpului', which means 'position of the body', a term used in police reports to describe the location of an accident victim when found. This recalls 'poliţist, adjectiv' by Corneliu Porumboiu, which in 2009 won the Un Certain Regard Jury Prize in Cannes. That title is also a wordplay, and Netzer shares many stylistic resemblances with Porumboiu.

If the film isn't perfect, then because of Netzer's tendency for emotional overkill; he rides his protagonist's credibility a little too hard sometimes, as in his debut feature 'Maria' (2003). However, that film is still alive in my memory precisely because the misery of the main character was so all-encompassing, so he may be using exaggeration as an artistic tool. 'Child's Pose' is a little too obviously geared towards festival expectations rather than domestic audiences - Romanians tend to prefer their social criticism with a large dosage of humor, as in all-time favorite 'Filantropica' (2002) by Nae Caranfil. But since the acting is mostly nothing short of brilliant, these calculations do not harm the film's artistic value and social message.

With Pozitia Copilului (Child's Pose) the Romanian cinema seems to complete a cycle that started almost a decade ago with Moartea Domnului Lazarescu (The Death of Mr. Lazarescu). The path was marked by a number of prizes at important cinema festivals around the world, with the first candidacy of a Romanian film for an Academy Award, but more important by the recognition by viewers that Romania is one of the locations where some of the most interesting movies come from, and that a specific style, a consistent set of themes, and a typology of characters combine to make the Romanian cinema distinct from other film schools. It did help that many of the actors in these films are constant collaborators of the leading directors of the 'wave', some of them becoming familiar faces to world cinema spectators. Luminita Gheorghiu and Bogdan Dumitrache - the lead actors here - acted also in Moartea Domnului Lazarescu, while Vlad Ivanov was the evil figure in 4,3,2.

As many of the good Romanian films in this period Calin Peter Netzer's movie can be seen and interpreted at multiple layers. One of them is composed of the social realities of Romania more than two decades after the fall of the communism. Class disparities are more obvious than in other places and contrast with the forced (and false) egalitarianism that dominated the Romanian society for most of the second half of the 20th century. The introductory scenes build for the viewer the context of the relations of the mid-upper class where the main heroes belong, with bourgeois occupations and family crisis, stylish social events and opera master classes. The obsessive relationship between the dominant mother and the spoiled son who seems to behave like an ingrate brute defines the second layer, the one of the personal relations between the characters. When the road accident that turns the world of the heroes upside down happens, the heroes will be obliged to make contact with the other Romania, the one of the pauper country people, with course manners but maybe with more character and moral strength. The system of relations and corruption is immediately put in motion by the mother, trying to protect her son and make him avoid the consequences of his behavior - a social comment about today's Romania which does not go lost neither for the Romanian nor for the foreign viewer. While this part is more clearly cut, there is no moral judgment made on the rest of the relations, and this is a smart choice made by the director.

The rest is left to the actors and they are simply said wonderful. Luminita Gheorghiu as the possessive mother and Bogdan Dumitrache as the traumatized son who makes all the wrong moves at the wrong moments in order to cut-off the invisible umbilical cord play one of the most meaningful and highly charged mother-son relationships that I have seen lately. Most of the actors in the supporting cast give sincere and expressive performances, which I would rather describe not as acting but as living their roles. A few memorable scenes (the master class at the beginning and the final scene of the confrontation with the family of the kid killed in the accident) may live in the memory of the viewers even longer than the rest of the film. Dealing with a subject that could have easily turned into melodrama or soap opera Pozitia Copilului succeeds to make a sharp social comment that works well with the more universal story of a suffocating love which is touched by miscommunication and tragedy.

a film about solitude. and truth moment. about love and error and need to escape from yourself. touching. profound. strange for the manner to present ordinary events in a direct and cold manner.in fact, a perfect puzzle. Luminița Gheorghiu does a splendid role who reflects image of many Romanian mothers. remarkable performance of Vlad Ivanov and Adrian Titieni impresses. basis the script, not a surprise from Răzvan Rădulescu. it is a cruel film for the science to reflect reality in large , clear slices. and for final taste. a film about duty. in its complete form. as shadow of fears and expectations and deep gestures who breaks the words. almost an experience. or only a ladder circle. must see it ! not for cast. not for prizes. not for quality of another Romanian/Eastern movie. but for its role of seed. seed of few impressions.