Romanian film review: Transilvania International Film Festival & Charleston
Romania’s biggest film festival, Transilvania International Film Festival (in short, TIFF) ended on June 3rd and its current edition screened more Romanian films (features and short films, both fiction and documentary) than ever. The…
Ioana Moldovan · Journalist
· Updated · 4 min read
Romania’s biggest film festival, Transilvania International Film Festival (in short, TIFF) ended on June 3rd and its current edition screened more Romanian films (features and short films, both fiction and documentary) than ever. The festivals busiest days are the ones dedicated to Romanian cinema and the now-famous Romanian Film Days (and nights) were long and bustling.
Which is no wonder if one has a look at the growing number of premieres during the past few years. It is not only the number of films released that are a good sign of a working film industry (admittedly one that often works in inscrutable, almost mysterious ways), but also the increasing variety of genres (making yours truly very happy). The other reason for the high number of Romanian pics is also the special section of Romanian classics from the 1960s and 1970s, mostly audience darlings, and some genuine finds, like disaster movie The Poseidon Explosion. You have to watch it to believe it, and especially how well it works (in case you don't track it otherwise, you can go for the many YouTube versions). The screenings, which were free, were organised with the occasion of this year’s celebration of 100 years since the Great Union.
The competition included many debuts, some in premiere, and some that have already been making the rounds, internationally and locally. The winner is the assured, hard-hitting Pororoca, and rightfully so. Carried by an impressive performance by Bogdan Dumitrache, the film is a gripping, horrifying story of a child gone missing and the toll this takes on the family. Its worthiest competitors were also awarded in other categories: Ivana Mladenovic’ Soldiers. Story from Ferentari was named Best Debut, while Daniel Sandu’s story about a young boy coming of age in a theological seminary One Step Behind the Seraphim snatched the Audience Award, and deservedly so. Finally, Adina Pintlilie’s already (in)famous Touch Me Not, a sincere, impressive look at intimacy and pre-conceptions was awarded a Special Mention. Surprisingly, Corneliu Porumboiu’s wonderfully droll and clever Infinite Football left with no laurels, but since it has been doing the festival circuit, I am sure it will gather some on its journey.
The short films selection has been more varied, with more animations, and thematically richer than in past years, so good news on that front as well. The winner, the charming
