Wild Romania

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.

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.

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.

In Iasi, Romania, from June 28 to July 6, 1941, nearly 15 000 Jews were murdered in the course of a horrifying pogrom. At the time, the programmed extermination of European Jews had not yet began. After the war, the successive communist governments did all they could to ensure the Iasi pogrom would be forgotten. It was not until November of 2004 that Romania recognized for the first time its direct responsibility in the pogrom. All that remains of this massacre are about a hundred photographs taken as souvenirs by german and romanian soldiers, and a few remaining survivors.

In 1959, in Romania, six former members of the nomenclature and the secret police organize a hold up of the National Bank. After their arrest, the state forces them to play themselves in a film which reconstitutes the crime and the investigation. At the end of their trial, filmed live, they are sentenced to death and executed. except the women, Monica Sevianu that due to the fact that she had 2 children she was punished to do hard work for life.

A public service announcement condemning the ominous obstacle of social parasitism and delinquency amongst wayward youth unwilling to contribute to Romania’s socialist advancement.

Romania. Seven years in the life of a family of believers, struck by the illness of a little girl suffering from spina bifida pass before the camera, with a polluted town scarred by unemployment serving as a background.

A history of Bucharest, as seen in the light of the totalitarian architecture, having as leading idea the reality that the Power always exposes its purposes through architecture. After five decades of communism, the reality on thee Dark Ages is still waiting to be revealed, and architecture is one of the most obvious embodiments of the ideology to whom it was builtÉ It is not a movie about faults or about guilty peoples, but about official edifices of thee communist Romania and their story.

A deceptively simple set-up: the director and his father watch a 1988 football match which the father refereed, their commentary accompanying the original television images in real time. A Bucharest derby between the country’s leading teams, Dinamo and Steaua, taking place in heavy snow, one year before the revolution that toppled Ceaușescu.

"This wonderful age in life where every thought strives toward an ideal, toward work, toward the future." Sahia Studios propaganda flick about how adults and their "those darn kids" attitudes affect adolescents.

Charming amateur film featuring the Eisner family, who emigrated to Britain from Romania the year this film was made.

Meet American fighter pilots and bombers who raided Romanian targets in WW-II including its major oilfields centered on Ploesti and Romanians who defended them. 'Ace' pilot interviews, both American and Romanian, as well as US Air Force prisoners experiences are explored through rarely viewed Romanian archive footage. The documentary is seen through the eyes and words of Nicholas Dimancescu. He journeys back to Romania both to discover his own roots and also to uncover the stories of American and Romanian airmen who raided and defended Romania's oil refineries during World War II. The experiences of wartime 'aces' on both sides are recounted and two of them, once enemies who attacked one another over Romania, meet for the first time 66 years later.

A look at the Jewish community in Rădăuți, Romania, from 1974 to 1976.

How does one trigger a revolution? In the Romanian uprising in 1989, everything seemed to happen by itself. The people were fed up and were plagued by poverty and terror. There comes a time when action must be taken! But, it turns out that history is not that simple, as this investigative documentary proves. The film is a thorough and revealing reconstruction of the events leading up to Ceaucescu’s downfall and execution. In actual fact, the Romanian revolution was a strictly managed operation, controlled from the outside. Hungary, Germany and especially America had big fingers in the pie.

Procreation is the social duty of all fertile women, was the political thinking during the 1960s and 1970s in Romania. In 1966, Ceaucescu issued Decree 770, in which he forbade abortion for all women unless they were over forty or were already taking care of four children. All forms of contraception were totally banned. The New Romanian Man was born. By 1969, the country had a million babies more than the previous average. Romanian society was rapidly changing. By using very interesting archival footage and excerpts from old fiction films and by interviewing famous personalities from that time – gynecologists or mothers who were part of the new society - the director revives this period of tremendous oppression of personal freedom. Many deaths were caused by the mere fact that women, including wives of secret Romanian agents, famous TV presenters, and actresses, had to undergo illegal abortions. Many women were jailed for having them.

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.

The last days of the first Romanian king, Carol I of Hohenzollern-Sigmaringen, and the tough decisions he had to make in the summer of 1914 in order to please both Romanian Parliament and his relatives from the German Empire.