Occident

I never expected a Romanian film to be so "occidental"!

Yes, I'm a young movie fan, but Romanian films (or at least those that I've seen) just have that characteristic awkwardness which make them look like second-class movies.

Well, Occident is different. It's radically different. It's different even from those American movies which had set the standards, but up to par with any of them.

Occident is strongly non-linear, and you wonder whether the familiar scene you're seeing is a similar one or a remembrance. Occident is fascinating, intriguing, even mind-boggling, and it doesn't make use of any Romania-specific jokes. So, if you're not Romanian, it's no problem. Occident is universal. And, quite a rare thing, Occident is worth seeing again. And again. And again.

A beautiful story about time, coincidences and happenstance. Three stories intertwine and characters influence one another's life without ever knowing it. Excellent and convincing performances from both veteran actors and newcomers. Even though it made me laugh a lot, after I finished watching it didn't taste like a comedy, but more like a sad love story. And even though love doesn't conquer all (love between man and woman, love between friends, love for one's country), the story doesn't feel hopeless and bleak, not even once. A must-see for anyone interested in Eastern European productions.

PS: The version I saw had English subtitles, but they were sometimes incomplete and a couple of times rather badly translated. I felt they didn't do their best to do justice to the lines.

A chain of stories. Impecable portrait of characters. Bitter humor. Ways of survive. And the choices defining different situations. A honest, realistic portrait of Romanian realities. Seductive for inspired performances, for the exploration of cliches and for the science to propose only events , determining the viewer to build his conclusion. Young people. Solutions . Their parents. And small circles of survive , fake succes or appearences as refuges.

I like this movie, I like its construction, a blurred image that becomes clearer. Visan is like the wine in this movie, it has something inside him magic, a another dimension. More it gets older better he is. Hope so see more other movies of this quality. Congratulations for the "mise en scene". The rest of the actors are good enough as well. The context, if you are not Romanian, harder to be understood and felt like a Romanian could feel. I've spend a nice evening watching this, it is something different from the Hollywood dozen movies that are winning Oscars. It is real art and real art should stay in time, I hope that one day those movies would be easier to be found and seen on numeric format. It deserves an A++ for sure.

Lucian is a 29 year old botanist whose financial security is threatened after his job gets cut. After finding himself evicted from his old apartment, his practical girlfriend is unwilling to accept his proposition to move in with his elderly aunt and himself and starts seeking solace in the company of an older foreigner about to return to France. Mihaela is a 24 year old romantic idealist and aspiring poetess who after being stood up at the altar has to reluctantly accept her willful mother's attempts at finding her a well-off foreigner suitor. "The colonel", a retiring police officer and Mihaela's father is approached by a Romanian expat to assist with breaking the news of the death of one of his friends, all the while trying to avert his daughter's ill-suited wooer.

The three stories in the film, although clearly delineated, are closely intertwined and interdependent, and its strings often blend seamlessly and fluently into one another. Showing signs of Kieslowski (imagery), Tarr (multi-perspective narrative structure) and Wong (theme of failed connections and longing), "Occident" holds a strong grip and deliberate pace on its three plots, gradually revealing more layers of each of its three protagonists, and often amending previously shown events through its crafty fragmented narrative.

Cristian Mungiu's first feature directorial effort paints a bittersweet picture on the transitional period of Romania a decade after the fall of the communist regime, most acutely marked by the large-scale brain-drain occurring after the late 90s recession. Frequently underscored by a popular local hit from the 70s, "Noi in anul 2000" ("We, in the year 2000"), whose youthful, innocently hopeful lyrics create a feeling of melancholy and forlornness when contrasted with the bleakness and ennui of contemporary adulthood in Romania, the film approaches themes of chance, displacement and longing. Allured by the mirage of an idealized West full of opportunity for a better life, the characters in the film are in pursuit of an ever elusive happiness, narrowly missing their chance and failing to reach a meaningful connection.