Carol I

Ștei

1968, The Socialist Republic of Romania. Women catch up on the latest tendencies in beachwear, the young hippies of Hamburg are harshly criticized by Romanian students, while Nicolae Ceaușescu reads the famous defiance speech against the intervention of the Warsaw Pact troops in Czechoslovakia. Floating solemnly over all this is The Internationale, sung on a stadium by a crowd of pioneers dressed in white shirts and red ties. A certainty for each probability: the documentary is at the same time a history lesson and an ideological warning sign, the director’s endeavour permanently draws our attention to the functions of the propaganda film, yet without tarnishing the fascination that dwells in the core of the images, that of the figures that wave at us from a past buried in commonplaces and political parti pris.

Made on the occasion of March 8, it presents a series of brief portraits of women, from various professional fields, of different ages and even of different ethnicities, pointing out the benefits that the communist organization had brought to their daily lives. A special emphasis is placed on their status as mothers and on the role of nurseries and socialist kindergartens not only in making their lives easier, but also in giving them the time they need to build a career. Another concern of the filmmaker, starting from the concrete case of one of the protagonists, is to highlight the differences between the happy present and the not-too-distant past in which someone with her social status should have dedicated herself exclusively to raising children, in hygienic and extremely difficult lives.

A more experimental aproach to labor protection films. In the line of Săucan's style, the soundtrack is as important as the image, the threatening music, full of shrillness, composed by Ion Dumitrescu potentiating the visual construction that mixes - in a montage reminiscent of the Soviet avant-garde school of the 1920s - all kinds of shooting techniques and frame combinations.

At the beginning of the 70s, Sahia Studio produced a number of social investigations commissioned by the Central Committee of the Romanian Communist Party, intended to expose the so-called "social parasitism". The decision was taken after the theses of July 1971, which provide that "one of the main objectives of political work, especially among the youth, is the firm fight against the tendencies of parasitism, of an easy life, without work, the cultivation of responsibility and the duty to work , in the service of the country, the people, the socialist society". The most famous films, made with the competition of the Ministry of the Interior and the Ministry of Justice, are Să treacă vara and Iarna unor pierde vară

The film's protagonists are the orphaned children taken into custody by the state and institutionalized at Children's House no. 6 from Bucharest. For Mészáros, the concern for the situation of children left orphaned during the Second World War is autobiographical: the director directly experienced the absence of parents in her own childhood.

A documentary that exposes the shocking truths behind industrial food production and food wastage, focusing on fishing, livestock and crop farming. A must-see for anyone interested in the true cost of the food on their plate.

The true story of Traian Popovici, a Romanian Mayor that saved 20,000 Jewish People from death during WWII and his friend, who married a Jewish woman against Hitler's orders.

A Roma beggar on his knees raises many extreme emotions: guilt, rage, sympathy and frustration. Most people just walk on by, but there is always someone willing to help. In this film, the director follows the confrontations between the Roma beggars from Romania and Finnish people, and is forced to question, over and over again, her own ideas about helping.

A documentary-essay which shows Costică Axinte's stunning collection of pictures depicting a Romanian small town in the thirties and forties. The narration, composed mostly from excerpts taken from the diary of a Jewish doctor from the same era, tells the rising of the antisemitism and eventually a harrowing depiction of the Romanian Holocaust.

A documentary portrait of legendary Perfect Ten gymnast Nadia Comaneci after becoming an icon in the 1976 Olympics, during her Romanian period, and her challenging years under the dictatorship of Nicolae Ceausescu.

Elena Stoica, a resident doctor at a hospital, faces a silent enemy: tuberculosis. With the healthcare system in ruins and no real hope for treatment, Elena devises a dangerous lie, a fictitious trip to a medical congress in Paris.

During the anti-communist uprisings of the late 1950s, a writer of comedic poems against socialism was constantly pursued by Securitate troops.

This mountain region that reaches across several countries in Eastern Europe is the home to gold diggers, wizards, cow herders and old Hassids.

Set in the dense forests of 1940s Eastern Europe, this story reveals the supernatural encounters that challenge three soldiers' understanding of life and death.

In the south-east of Europe lies a natural jewel that is unparalleled: Romania. Bears and wolves still roam its inaccessible forests, in its remote villages people still live in harmony with nature - many things appear as in times long past for us. Romania is still home to animals and traditions that have long been lost in other regions: marmots inhabit the high meadows of the Carpathian Mountains, where shepherds graze their sheep in summer. Colorful bee-eaters live in Transylvania and pelicans fish in the Black Sea. With impressive images, this high-quality nature documentation takes you to surprisingly unknown, wild Romania.

The film starts with a long, static shot of the sun rising above the hills near the Roma village of Hetea in Romania. We only hear the sounds of birds, including a cuckoo. In the distance, a satellite dish figures on a roof. Slowly, the daily routine begins. We see more and more activity, like the harnessing of a horse to a cart, loading stripped tree trunks, collecting water from a pipe, playing soccer and a girl getting punished with a severe slap on her arm. These scenes are mostly captured from a distance. Then, towards noon, the fat is in the fire. The camera looks for the villagers who argue with each other and registers how an old man paces up and down the street. Because the images have not been subtitled (intentionally), the meaning of the quarrel remains unclear. The film does not mention any names or other facts, either. The absence of this context makes this documentary into a picturesque impression.

On June 29, 1941 thousands of Jews were herded into a courtyard in Iasi, Romania and were massacred by German and Romanian soldiers. Many of the Jacobovicis of Romania died that day. Canadian filmmaker Simcha Jacobovici goes back to the land of his forebears and explores issues of memory - his and Romania's. Charging the Rhino is a documentary about the Romanian Holocaust. Romanian fascists shot filmmaker Simcha Jacobovici’s father, Joseph, during WWII. Romanian communists shot his cousin, Sasha, during the Cold War. Through their stories the film explores the devastating history of fascism and communism in Romania and the life-altering affect it had on the psyche of those who endured Romania’s unimaginable.

In 1947, Yugoslav President Josip Broz Tito visited, for the first time, Romania. Its communist regime gave him, as present, a painting from a great Romanian artist Ion Andeescu: 'The Leafless Forest'. In the 60s, a young art critic, Radu Bogdan, decided to elaborate a monograph dedicated to the great painter, including reproduction of the painting given to Tito. After countless problems, he obtained the permission to photograph the painting. The moment they took the painting off the wall, they found - a microphone. Somebody was spying on Tito...

A film about the artist Daniel Spoerri. It's actually a film about a thought by Daniel Spoerri: a film almost without Daniel Spoerri, it's actually mostly acted out by a child - to say no less than that everything somehow goes on in life, even if you die in between.