din acest moment orice postare ce va contine macar o minuscula injurie la adresa unui alt partener de discutie va fi sters, fara exceptie

si am sa inchid si subiectul din cafenea, pentru ca nu a folosit la nimic

ultimul mesaj al lui marx a fost modificat de mine

so, unde am spus ca filmul de fictiune un fals?!

din doua clickuri mi-ai demonstra ca sunt kior. de ce oare e asa greu pt tine sa arati un "adevar"?

so, asta e citatul pe care als nu stie sa-l incadreze din setarile forumului pt fi delimitat si implicit vizibil de maculatura lui.

dar el a inteles ca eu as fi zis (!?) ca filmul de fictiune un fals.

si daca ne departam de notiunile stricte ale filosofiei, fictiunea este un accesoriu de care se folseste un creator pt a INCERCA o forma perceptiva a unui adevar.

deci, cum am zis mai sus, personajul als (care rimeaza cu f.als) NU STIE sa citeasca, nu are repere axiologice, nu cunoaste termenii pe care-i manipuleaza la fel ca un schiop cand joaca fotbal.
so, baietas, daca niciun citat nu esti capabil sa incadrezi, atunci e explicabil de ce nu te descurci cu niste biete definitii.
dixit.

Foarte bine, dar trebuia sä pui un anunt gen "Edited by admin", sau asa ceva.
Altfel, da: de un an jumate ne sträduim sä creäm aici un climat normal, si în mare parte am reusit. Un topic ca äla din cafenea (sau ca vechiul "In suturi") ar fi eficient, în mäsura în care împricinatii ar avea mäcar acel minimum de bun-simt de a-si posta injuriile acolo (sau la morgä, care pentru asta a fost creatä). Asa, s-ar rezolva si problema "libertätii de expresie", precum si cea a comportamentului acceptabil. In conjunctie cu asta, ar trebui sä se aplice mult mai strict sistemul sanctiunilor: avertisment, urmat imediat de bannare temporarä (eventual, trimitere în surghiun la morgä, ca sä mai capete si aia ceva subprocente de rating, cä tot e moartä de luni de zile).

nenea moderatoru` ... fa`le cadou un dush rece ... sa isi revina :)

nu stiu dc s foloseste pluralul, pt k eu nu ma simt vinovat cu nimic: NU am postat nici injuraturi, nici cuvinte interzise.
in plus, s poate observa cu usurinta k marx a 'sarit la bataie' (k altcva nu stie) IMEDIAT c am postat articolu ala... deci, eu nu l-am provokt!

altminteri, c sa mai zic... e varza: incurk fictiunea cu filmu d fictiune, nu intelege sensu unor fraze p kre el insusi l foloseste, arunk doar sentinte injurioase fara acoperire etc... imi aminteste d un alt user paranoic, kre credea k dk 't face' p un forum, t face si in, hm, 'realitate'... or, valoarea d adevar a acestor sentinte e nula. k si personaju

in c ma priveste, consider capitolu INKEIAT: nu vreau sa mai am NICIUN FEL d interactiune cu ac indi-vid, pt mine e mort & ingropat...
m-am amuzat un timp sa vad pina unde poate merge, dar nu mai are niciun haz; m-am convins (si cre k toata lumea, din pakte :(( ) k poate merge mult prea departe cu insultele :sick:

Pentru cä am extrapolat si am fäcut si propuneri de viitor, valabile pentru alte cazuri si persaone.

tu nu provoci decat cand aberezi, in rest esti un inutil. si cand ramai fara argumente, apelezi la imaginea ta de diva frustrata.
tu nu vezi ca nu esti capabil sa aduci un set minim de contraargumente? mai si inventezi ineptii pe care mi le atribui cu nonsalanta.

astept d la cei kre au citit & inteles ideile articolului meu sa-mi impartaseask opiniile lor; in the meantime, imi face o deosebita placere sa postez interviul kre mi s-a luat & kre va aparea la ny, in preajma marii retrospective a filmului ro d la lincoln center... :happy:

1. Is the explosion of high quality and brutally honest Romanian cinema a
surprising and previously unpredictable phenomenon or is it a movement that has been evolving slowly since before the 1989 revolution?

Whenever i am asked to describe the evolution of the
Romanian cinema after 1990 i find it useful to
separate it in 2 distinctive moments: from 1990 to
2001 and from 2001 to the present. Why 2001 (the first
year of the 21st century, by the way)? Because that
year, Cristi Puiu made his discreetly-released, but
groundbreaking, time-changing debut with 'Stuff &
Dough' (hence, my joke about dividing Romanian cinema
between an era BCP (= before Cristi Puiu) and AM (Anno
Mungii)! ;)). Up to that moment, Romanian cinema had
been struggling, fiercely, to find its voice, only to
find that that particular voice was too shrill -
honestly hysterical (about the state of things in
Romanian society), but aesthetically loud...
The 'minimalists' sort of lowered the volume to the
minimum; their films (almost as inspired by real life
as those before them, but fortunately devoid of the
flawed, flamboyant rhetoric which accompanied those)
cut to the core - both ethically & stylistically. The
'quest for Truth' had finally found its way - to put
it in the bombastic, BCP-style. Or (in the minimalist
mode): Yes, it was surprising. Yes, it was
unpredictable. And no one saw it coming.
>
2. What does this film festival say about how far Romania has come in
confronting the ghosts of its past? Is it painful, therapeutic, or comical
(or a combination) for Romanians to see their Communist past relived on the screen?

I guess it's definitely painful, it should be
therapeutical and, come to think of it, it is (not) so
comical. The Romanians do NOT want to 'see their
Communist past' on the screen; they would rather see
ANY other past than theirs relived on the big screen,
in big historical epic movies... Putting these two
moments of Romanian cinema face to face (although back
to back is more appropriate) is something
unprecedented - a useful experiment in collective
therapy (& hopefully, exorcism). My guess is the
Romanian expats will hype the films from THEIR past &
deride those from a present which is no longer theirs.
'Confronting the ghosts' is a tough job which requires
guts - and it takes a long time to find ALL the ghosts
and bring them alive on the screen. And then at the
end of the day, many people might not even want to
confront them: they have their own 'skeletons in the
cupboard' rattling up there - why would they like to
hear them rattle 'minimalistically' on the soundtrack
of some dark, desperate movie?!
>
3. How do Romanians react to the recent positive attention and acclaim given to their country's new status as a powerhouse film culture and one that is redefining cinema? How has the attention helped the country?

I think they tend to see it more in terms of image -
hence, a PR thing. Mungiu's Palme d'Or spelled out
'success' in capital letters, but it was irrelevant
that that success happened in cinema rather than in
soccer or fashion... They don't care much about
cinema; and some - prone to 'ghosts of the past'
whispering that 'everything is arranged in high
places' (the conspiracy theories are a Romanian
'specialty') - will go to great lengths explaining
that this unprecedented success is the result of our
EU accession!! The conspiracy theorists have an answer
to everything, don't they?
>
4. What has the traditional role of cinema been in Romanian society, say,
before 1989? And what is its role today? How has the filmmaker's relationship with his audience changed over the decades?

It was a popular art, to be sure - but definitely
relegated by the cultural establishment towards the
margin. It was also a powerful tool of propaganda
(even comedies were being ideological back then!) and,
whether people were aware of that or not, they still
enjoyed going to the movies to watch those historical
action flicks directed by Sergiu Nicolaescu - the
Romanian Cecil B. De Mille who occasionally played in
his own films...
I think movies, as collective entertainment, take a
break in Romania nowadays. The audience has become the
audienceS - 'target-groups' with specific needs, likes
& dislikes. The young (the most mobile age-group in
moviegoing) are engaged in a lot of 'occupational
piracy', downloading freely from the internet, the
middle-aged are too busy & too tired to go out & see a
movie, while the elderly are too poor, so they prefer
to stay at home in front of their tvs. They would
still make it to the cinemas, provided they saw the
same kind of mindless entertainment they get on tv -
on the big screen! They have been, i'm afraid,
hopelessly formatted by Hollywood movies & Hollywood
movies seen on tv. And the 'minimalists' (who are, in
fact, bona fide 'neorealists'!) don't make things easy
for them - with their gloomy mix of angst, poverty &
sadness. They 'portray the truth', but people don't
want truth, they want entertainment. These films
alienate them.
>
5. How were the films for this festival chosen? What common thread do they all share? What cultural and political statements are being made by their collective screening?

These are questions for Richard Pena, i think...?
But i would like to add, nevertheless, that i find his
selection extremely well-balanced, subtly
encompassing, bold and nuanced at the same time. It's
an unprecedented showcase of style and substance, for
which lauds are obligatory. Plus - it's a critic's
choice, so it's bound to be very good!
>
6. What do you hope that the festival will achieve with its American
audience?

The ultimate proof that Romanian cinema existed before
Cristi Puiu & Co.

Drägutel interviul, desi eu, unul, gäsesc arhicunoscute majoritatea enunturilor din el - dar, în fond, e pentru americani, care n-au de unde sti cum au stat, stäteau si stau lucrurile la noi. Aici stä marea lui importantä - în räspândirea pe plan international a unor date definitorii despre aceastä dublä jonctiune în filmul românesc: trecut-1990-CP-prezent.
Totusi, o idee mi-a atras atentia, si meritä sä fie dezvoltatä, mai ales în plan sociologic: "românilor nu le place sä fie confruntati cu propriul lor trecut comunist; cu ale tuturor celorlalti, da, nici o problemä". AICI E AICI! Evident, starea se aplicä în continuare, ajustatä, si asupra notoriei "perioade de tranzitie". Asta e motivatia reactiei atât de viscerale a unei întregi categorii, contra curentului minimalist...
...Ceea ce mä duce cu gândul la altä idee pe care ai abordat-o: faptul cä filmele româneste BCP erau, într-un fel, la fel de sincere, dar gongoric-isteric-declarative. Eu as mai zice si: impotente-inconsistente-incontinente. DE-AIA, ele n-au stârnit proteste: pe de o parte, lipsa de substantä realä le fäcea implicit inofensive, iar pe de altä parte, aerul de criticä politico-socialä cabaretist-operetisticä le transforma într-un divertisment pe placul boborului.

Mä intrigä ultima întrebare si räspunsul ei: în ce sens ar fi relevantä "dovada supremä cä a existat film românesc si BCP"?

creca in sensul primei intrebari - daca exista niste baze inca inainte de CP (si inainte de 89), pe care se putea construi ceva acum...

si care sunt filmele alese de Pena?

voila:

What’s playing when

WED, Apr16 2 pm
8 pm
The Pale Light of Sorrow / Lumina palidã a durerii
Sunday at Six / Duminicã la ora ºase
Dir. Iulian Mihu, 1980
Dir. Lucian Pintilie, 1965

THU, Apr 17 1 pm
3:10 pm
Occident
Love Sick / Legãturi bolnãvicioase
Dir. Cristian Mungiu, 2002
Dir. Tudor Giurgiu, 2006

FRI, Apr 18 12:30 pm
2:40 pm

4:45 pm

6:50 pm

9:15 pm
Don’t Lean Out the Window / E pericolos sporgersi
Maria

Ryna

Occident

Ryna
Dir. Nae Caranfil, 1994
Dir. Peter-Cãlin Netzer, 2003

Dir. Ruxandra Zenide, 2005

Dir. Cristian Mungiu, 2002

Dir. Ruxandra Zenide, 2005

SAT, Apr 19 1:15 pm
4:10 pm

6:20 pm

8:30 pm
The Return of the Banished / Întoarcerea lui Vodã Lãpuºneanu
The Paper Will Be Blue / Hârtia va fi albastrã

Contest (a.k.a. Orienteering) / Concurs

Forest of the Hanged / Pãdurea spânzuraþilor
Dir. Malvina Urºianu, 1979
Dir. Radu Muntean, 2006

Dir. Dan Piþa, 1982

Dir. Liviu Ciulei, 1964

SUN, Apr 20 12 pm
2:50 pm

5:10 pm

7:10 pm

9:00 pm
The Pale Light of Sorrow / Lumina palidã a durerii
Maria

Microphone Test / Probã de microfon

A Girl’s Tear / O lacrimã de fatã

Don’t Lean Out the Window / E pericolos sporgersi
Dir. Iulian Mihu, 1980
Dir. Peter-Cãlin Netzer, 2003

Dir. Mircea Daneliuc, 1980

Dir. Iosif Demian, 1980

Dir. Nae Caranfil, 1994

MON, Apr 21 1:45 pm
4:00 pm

6:00 pm
Contest (a.k.a. Orienteering) / Concurs
A Girl’s Tear / O lacrimã de fatã

The Paper Will Be Blue / Hârtia va fi albastrã
Dir. Dan Piþa, 1982
Dir. Iosif Demian, 1980

Dir. Radu Muntean, 2006

TUE, Apr 22 1:00 pm
3:45 pm

8:30 pm
Return of the Banished / Întoarcerea lui Vodã Lãpuºneanu
Microphone Test / Probã de microfon

Sunday at Six / Duminicã la ora ºase
Dir. Malvina Urºianu, 1979
Dir. Mircea Daneliuc, 1980

Dir. Lucian Pintilie, 1965

WED, Apr 23 1:00 pm
3:00 pm

5:00 pm

7:00 pm

9:00 pm
Circus Performers / Saltimbancii
Sequences / Secvenþe

Adela

12:08 East of Bucharest / A fost sau n-a fost?

Adela
Dir. Elisabeta Bostan, 1981
Dir. Alexandru Tatos, 1982

Dir. Mircea Veroiu, 1985

Dir. Corneliu Porumboiu, 2006

Dir. Mircea Veroiu, 1985

THU, Apr 24 1:00 pm
4:00 pm
The Death of Mr. Lazarescu / Moartea domnului Lãzãrescu
Forest of the Hanged / Pãdurea spânzuraþilor
Dir. Cristi Puiu, 2005
Dir. Liviu Ciulei, 1964

SAT, Apr 26 8:15 pm Sequences / Secvenþe Dir. Alexandru Tatos, 1982
SUN. Apr 27 1:30 pm
3:30 pm

5:30 pm

7:20 pm
Love Sick / Legãturi bolnãvicioase
Circus Performers / Saltimbancii

12:08 East of Bucharest / A fost sau n-a fost?

The Death of Mr. Lazarescu / Moartea domnului Lãzãrescu
Dir. Tudor Giurgiu, 2006
Dir. Elisabeta Bostan, 1981

Dir. Corneliu Porumboiu, 2006

Dir. Cristi Puiu, 2005

Lincoln Center, Walter Reade Theater
165 W 65th St (upper level, between Broadway and Amsterdam Ave). Please note: Due to construction work taking place around Lincoln Center, access to the Walter Reade Theater is at 165 West 65th Street close to Amsterdam Avenue. Once there, take the escalator, elevator or stairs to the upper level.

ps SA-NTELEG K MARX NU VA FI BANAT pt porcariile & injuriile postate?!? :shock:

:?
Eu nu am priceput fraza subliniata - e vorba de confruntarea "individuala cu trecutul" ( care oricum in cazul multora nu era nici pe departe "comunist" ci eventual "intr-un mediu influentat de un regim comunist" ) ?

E vorba de o sintezä deplasatä dinspre individual spre general - în sensul cä sentimentul de vinovätie colectivä, inculcat de fesenisti imediat dupä revolutie, pe acel teren psiho-afectiv atât de receptiv si fertil, fiind proaspät destelenit (pentru ca, prin culpabilizare la nivel national, sä se auto-legitimeze ca "mântuitori"), a rodit pe termen lung: prea multi oameni preferä acum sä ignore trecutul, din superficialitate, lasitate, frivolitate, nestiind cä "cine-si uitä trecutul, riscä sä-l repete".
Nu e singurul motiv al denigrärii câtorva dintre filmele Noii Generatii, dar inträ si el în combinatie - mai ales în cazul "432"-ului, are nu se referä nici la securisti, nici la secretarii de partid, nici la alte "cadre active", ci la omul de rând, cu doza lui de complicitate tacitä si pasivä, mariatä si cu nevoia legitimä de a supravietui.

Chiar crezi cã asta e cauza ignorãrii/uitãrii sau pur ºi simplu faptul cã - indiferent cât de "incomplet" este capitalismul ºi sistemul democratic din România actualã - diferenþa dintre traiul cotidian "de acuma" ºi cel "de atunci" face absolut normalã o asemenea uitare ? :?

Suntem însã "pe lângã subiect" aºa cã nu vreau sã mã lungesc acuma aici. :)

Si nu numai atât. Sistemul se regäseste, in macro, si în multe alte straturi ale gândirii sociale de la noi.
Altfel, ai dreptate, ne îndepärtäm de subiect. Back to topic.

reconstituirea.