Sunset (2018 film)

 

Directed by Laszlo Nemes and written by Nemes, Clara Royer, and Matthieu Taponier, Napszallta (Sunset) is the story of a young woman who arrives in Budapest to work at a milliner which used to be a legendary hat store owned by her parents as she deals with the past and her family just one year before World War I. The film is a drama set during a time when the city was considered the heart of Europe as a woman arrives to find out what happened to her family when she was only 2 years old and why the man who killed her family did it. Starring Juli Jakab, Vlad Ivanov, Marcin Czarnik, Evelin Dobos, and Judit Bardos. Napszallta is a riveting yet evocative film from Laszlo Nemes.

Set in 1913 in Budapest during the final years of the Austrian-Hungary empire, the film revolves around a young woman who goes to the city during an upcoming celebration where she goes to a legendary hat store that was once owned by her parents until it was burned down where they claimed her parents when she was only 2 years old. It is a film about this young woman whose surname meant a lot to Budapest as it is known for its elaborate hat designs that posh women wear as she wants to know what happened to her parents as those she meet often turn her away from the truth amidst this growing social turmoil that is set to come. The film’s screenplay is straightforward in its narrative as it follows its protagonist of Irisz Leiter (Juli Jakab) who has been living in France for a few years as she arrives to the city where her family’s hat shop is at the center of the city which is considered to be the heart of Europe.

Owning the Leiter hat shop is an old family friend in Oszkar Brill (Vlad Ivanov) who is trying to get Irisz to leave the city with many claiming that her older brother was the one who killed her parents. One aspect of the script that is unique revolves around Irisz trying to get answers but either someone doesn’t reveal anything to her or often gives her something cagey along the way she treks throughout the city and areas outside to find out what happened to her parents. Irisz arrives during a moment where the Leiter shop is about to embark on a major event as a prince is set to arrive with his wife to see the new hats but also something much more. Notably as Irisz also notices this air of social turmoil lurking around as she visits an ailing countess and people who follow her brother where there is so much that is happening as she is confused by her surroundings and what is going on as well as this major event that is happening as if this idea of what Europe is finally starting to unravel.

Laszlo Nemes’ direction is definitely entrancing as it play into a period in time where old Europe is thriving and entering into this modern world of high fashion and high culture that is disconnected from what is happening in the lower class as well as those disenfranchised from high society. Shot on location in areas in and around Budapest, Nemes maintains this gaze as it is largely shot from Irisz’s perspective where the camera is often behind her and following her at times with its usage of close-ups and medium shots. Even as there are tracking shots throughout the film where Nemes would follow Irisz as she goes into the town square where there is so much happening as if the city is enjoying this air of decadence unaware that there are dark forces that are lurking. There are some wide shots in Nemes’ direction yet he maintains this air of intimacy but also a sense of claustrophobia in the crowd shots with the shop being a character in the film where it does have this air of beauty as the milliners are largely women as many of them have to have a certain look and wear white.

There is also this air of suspense and tension that looms throughout the film as it relates to the visit from the prince (Tom Pilath) and the princess (Susanne Wuest) where it’s not just about hats but something more that makes even Brill and the shop’s manager Zelma (Evelin Dobos) uneasy. Adding to this tension is what is happening outside of the city in the slums where Irisz gets a closer look into the world of the poor who feel slighted by the royals and the posh people in society as this hat shop as the symbol of this oppression. Even as the hats themselves represent this air of importance in its social status but also as a shield of the dark realities of the world where Irisz is forced to understand about everything Brill, her brother, and others are trying to shield her from. Amidst all of these revelations, Irisz gets a much closer look of a world that is coming to an end as the shop represents this modern idea of old Europe just as the continent is about to fall into chaos. Overall, Nemes crafts a ravishing yet unsettling film about a young woman uncovering the secrets of her family’s hat shop.

Cinematographer Matyas Erdely does brilliant work with the film’s cinematography as its usage of sunlight is key to the film along with emphasis on natural and available light for many of the scenes at night as it is a highlight of the film. Editor Matthieu Taponier does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the suspense as a lot of it has a lot of long shots to play into the drama. Production designer Laszlo Rajk, along with art directors Dorka Kiss and Attila Digi Kovari, does amazing work with the look of the shop in its interiors and rooms as well as some of the places behind the shop as it play into this air of secrecy where everything is trying to be concealed.

Costume designer Gyorgyi Szakacs does fantastic work with the design of the dresses of those times along with the suits the men wore while the hats that are created is a major highlight of the film as do play into some of the metaphorical elements of the film. Sound designer Tamas Zanyi does superb work with the sound as it plays into the natural locations and settings as well as scenes involving crowds and some eerie quiet moments in the film. The film’s music by Laszlo Melis is incredible for its serene yet haunting score with its emphasis on discordant string arrangements as well as elements of folk as it adds to the film’s suspense.

The casting by Eva Zabezsinszkij is wonderful as it feature some notable small roles from Enrique Keil as a royal figure wearing a monocle, Susanne Wuest as the princess, Tom Pilath as the prince, Urs Rechn as an anarchist figure in Ismael, Sandor Zsoter as a doctor late in the film who warns Irisz about what is happening, Judit Bardos and Dorottya Moldovan in their respective roles as hat girls in Szerena and Lili who both hope they go to Vienna, Christian Harting as a prominent social figure in Otto von Konig, Julia Jakubowska as the grief-stricken and ailing Countess Redey who had a past with Irisz’s brother, Benjamin Dino as a worker at the store in Andor who knew Irisz’s brother whom he is not fond of, and Levente Molnar as a mad coachman in Gaspar who knew Irisz’s brother.

Marcin Czarnik is excellent in his small role as a mysterious man called Sandor as he is often seen looking at Irisz as if he knows who she is while his motives are ambiguous. Evelin Dobo is brilliant as Zelma as the supervisor at the hat shop as a woman who is trying to conceal things from Irisz but also leave her clues as she also has to deal with a much bigger role she has to play for this upcoming event. Vlad Ivanov is amazing as Oszkar Brill as the owner of the Leiter hat shop who knew Irisz’s parents but also what happened as he is reluctant to divulge any details while he is part of something bigger that he doesn’t want Irisz to know about. Finally, there’s Juli Jakab in a phenomenal performance as Irisz Leiter as a young woman, whose parents once owned a hat shop that is now the center of Budapest’s town square, as she deals with the many secrets about her family as well as the secrets relating to this big event as it would lead to chaos where Jakab maintains this air of calm but also a haunting quality into a woman that is just trying to find answers about herself and her family as it is an unsettlingly eerie performance from Jakab.

Napszallta is a spectacular film from Laszlo Nemes that features an incredibly chilling performance from Juli Jakab. Along with its ensemble cast, ravishing visuals, its disconcerting tone, somber music soundtrack, and its exploration of a world not knowing it’s coming to its end. The film is an intoxicating yet densely-written film that explores a young woman’s search for her identity only to be front and center at an event that would set the stage for what is to come in the history of the world. In the end, Napszallta is a sensational film from Laszlo Nemes.

Related: Son of Saul

© thevoid99 2021

Toni Erdmann

Written and directed by Maren Ade, Toni Erdmann is the story of a woman who gets an unexpected visit from her father as he tries to reconnect with her by pretending to be a life coach for a CEO she’s trying to do business with. The film is an exploration of a father-daughter relationship in which a man returns to the life of his estranged daughter who wants little to do with her father as she’s trying to go for her own ambitions. Starring Peter Simonischek, Sandra Huller, Ingrid Bisu, Michael Wittenborn, Thomas Loibl, Lucy Russell, and Vlad Ivanov. Toni Erdmann is an offbeat and engaging film from Maren Ade.

The film follows a man who spontaneously decides to visit his businesswoman daughter from his small German home to Bucharest, Romania where she is not happy with the surprise business just as she’s trying to finish a business deal. During his time with her, he would create a persona by pretending to be a life coach for a CEO by sporting a wig and false teeth creating chaos wherever he is at. The film’s screenplay by writer/director Maren Ade doesn’t just explore the diverging lifestyles of Winifried Conradi (Peter Simonischek) and his daughter Ines (Sandra Huller) but also Ines’ own ambition in being a consultant in this outsourcing project in the oil industry in Bucharest. Her work leaves her little time to be with family as well as having a life of her own to socialize or do anything spontaneous. When Winifried arrives to Bucharest following the death of his dog unexpectedly, Ines is in shock as she reluctantly has her father accompanying her where things don’t go well.

Much of the first act is about Winifried and Ines as the former accompanies the latter who is trying to get a deal going while the second act is about the persona that Winifried has created in a life coach called Toni Erdmann. Erdmann’s presence would baffle and annoy Ines as he would charm not just some colleagues but also those she’s trying to deal with. Even as she is forced to deal with aspects of her own life that is unfulfilling and often predictable as it would come into play during the film’s third act. Though some of scenes that Ade creates in the script can be overly stretched due to the exploration of the characters as it can meander. It does help show this unique relationship between father and daughter that is problematic but also filled with love.

Ade’s direction for the film is offbeat in terms of her approach to the humor and drama as she would create things that are odd but also moments that are simple. Shot partially on location in rural parts of Germany as much of the film is shot mainly in and around Bucharest. Ade plays into this world that is very modern which Ines is a part of as it’s confusing for someone like Winifried who used to be a hippie that teaches part-time to school children. Much of Ade’s compositions are straightforward as there’s a few wide shots as Ade would favor the usage of close-ups and medium shots while she knows what to do to create something that feels chaotic and spontaneous. Much of it has Ade taking her time where it would lag in certain parts of the film while there are moments that show what Winifried would do as Erdmann does break away from some of the monotony in Ines’ life.

One scene where Ines is having dinner with friends as Erdmann is in the background trying to move his table closer as it is quite funny while the scene where Erdmann and Ines visit a Romanian family on Easter show Ines starting to come out of the shell she had created. Especially in the third act where Ines is forced to see the lack of freedom in her life with her father still just trying to be there for his daughter. Overall, Ade creates a witty yet compelling film about a man trying to bring some chaos into his daughter’s overworked life.

Cinematographer Patrick Orth does excellent work with the film’s cinematography as it’s straightforward for many of the scenes in the daytime along with some lighting for some of the scenes at night including a few parties and such. Editor Heike Parplies does nice work with the editing as it is straightforward with very little stylistic cuts in favor to play into the drama and some of the humor. Production designer Silke Fischer, with set decorator Katja Schlomer and art director Malina Ionescu, does fantastic work with the look of the hotel room that Ines lives in the city as well as her apartment as well as the messy house that Winifried lives in.

Costume designer Gitti Fuchs does terrific work with the costumes as it mostly casual with everyone wearing business suits or designer dresses as the big highlight comes in someone wearing this Bulgarian kukeri costume. Sound editor Fabian Schmidt, with sound designers Erik Mischijew and Matz Muller, does superb work with the sound as it play into the different locations and how they’re presented via sound as much of the music in the film is played on location with the exception of the Cure’s Plainsong for the film’s final credits.

The casting by Viorica Capdefier, Nina Haun, and Amanda Tabak is great as it feature some notable small roles and appearances from Vlad Ivanova as a Romanian local living near an oil well that Winifried befriends, Hadewych Minis as a Romanian woman Winifried meets as he attends her Easter party, Victoria Cocias as a friend of Ines, Thomas Loibl as Ines’ boss Gerald, Trystan Putter as a colleague and sometimes lover of Ines in Tim, Lucy Russell as a friend/colleague of Ines in Steph, Michael Winttenborn as a CEO named Hennenberg that Ines is trying make a deal with, and Ingrid Bisu as Ines’ young assistant Anca who tries make everything goes to plan for Ines as well as deal with Winifried. 

Sandra Huller is brilliant as Ines as a business consultant trying to deal with the chaos in her work life as well as the lack of free time for herself as she is annoyed by the presence of her father as it forces her to see how predictable and dull her life is. Finally, there’s Peter Simonischek in an amazing performance as Winifried as a former music teacher who deals with the death of his dog and lack of contact with his daughter as he decides to surprise her as it’s a calm though offbeat performance for the most part until he becomes the titular character where he is just full of life and absolute chaos.

Toni Erdmann is a marvelous film from Maren Ade. Featuring great performances from Peter Simonischek and Sandra Huller as well as captivating story of a man trying to reconnect with his overworked daughter. It’s a film that explores the idea of spontaneity in life as well as the need to not have everything in control though the film does go overlong in some bits. In the end, Toni Erdmann is a remarkable film from Maren Ade.

Maren Ade Films: (The Forest for the Trees) – (Everyone Else)

© thevoid99 2017

2013 Cannes Marathon: Police, Adjective

(Winner of the Un Certain Regard Jury Prize at the 2009 Cannes Film Festival)

Written and directed by Corneliu Porumboiu, Police, Adjective is the story of a police officer who questions his role after busting a teenage boy caught smoking hashish. The film is a look into the life of a young policeman who is conflicted over what to do as a man and as a police officer. Starring Dragos Bucur, Vlad Ivanov, and Ion Stoica. Police, Adjective is a chilling yet powerful drama from Corneliu Porumboiu.

The film is about the few days in the life of a policeman in Bucharest, Romania as he is eyeing a young kid who is rumored to be a hashish dealer. While he doesn’t think the kid is going to do anything wrong as laws about hashish/marijuana possession are likely to be changed. He knows that if he arrests the kid, he’ll ruin that boy’s life as he’ll be put in prison for some years even if he only carried a few grams of the substance. The film definitely follows this man named Cristi (Dragos Bucur) who is conflicted over what to do as he is told by his captain (Vlad Ivanov) about what to do though he claims the kid will get a reduced sentence.

Corneliu Porumboiu’s screenplay doesn’t have much of a plot as it is more about an officer dealing with his role while trying to see if there’s any valid evidence to arrest this young teenager. Even as Cristi is aware that the world is changing as he and his new wife had just returned from a honeymoon in Prague where he had seen people smoking hashish and is aware of the laws that are happening in Czech Republic. Still, he is faced with opposition in the police force about his conflict while things aren’t any easier as his young informant Alex (Alexandru Sabadac) doesn’t reveal anything that can be incriminating.

Porumboiu’s direction is quite simple in terms of the compositions he creates with a lot of wide and medium shots with some movements in the camera. Yet, he does infuse his scenes with a lot of long takes to establish some key moments of the story including playing out the drama in real time. There are no big moments in the film but rather smaller ones from the way Cristi arrives to his office and do his reports as well as come home at night where either his wife is making dinner or dinner is being made. Yet, it is all about Cristi trying to see if there is anything bad happening where he would follow a few people from afar so he wouldn’t raise suspicions while looking out at the home of this kid who could be the dealer. One key scene that is very engaging is the penultimate sequence where Cristi delivers his report to the captain as it’s a very powerful moment that plays into the conflict that Cristi is dealing with. Overall, Porumboiu creates a very haunting yet eerie film about doing what is right.

Cinematographer Marius Panduru does excellent work with the film‘s cinematography as it‘s mostly straightforward while using a few lighting schemes for some scenes at night. Editor Roxana Szel does nice work with the editing only to create a few rhythmic cuts to intensify some of the drama as a lot of it is quite methodical. Production designer Mihalea Poenaru does terrific work with the set pieces from the look of the police station to the quaint apartment that Cristi lives in with his wife. Costume designer Georgiana Bostan does some fine work with the costumes as it‘s mostly casual. Sound recorder Christian Mike Sugar does wonderful work with the sound as it’s mostly low-key and atmospheric with the exception of a scene in Cristi’s apartment where his wife is listening to a Romanian pop ballad.

The film’s cast is brilliant as it mostly features small roles from Alexandru Sabadac as Cristi’s informant, Radu Costin as the supposed dealer, Irina Saulescu as Cristi’s wife Anca, and Ion Stoica as Cristi’s fellow officer Nelu. Vlad Ivanov is excellent as Captain Anghelache who tells Cristi what a cop should be as he later tells him about what the law means as well as some of its fallacies that adds more conflict for Cristi. Finally, there’s Dragos Bucur in a marvelous performance as Cristi as a young man who knows what it means to be young while he knows that he’s a cop but doesn’t want to ruin a young man’s life for something that he would later not be in trouble for.

Police, Adjective is an intriguing yet riveting drama from Corneliu Porumboiu. The film is a captivating look into the world of what the police does as well as the conflict into serving justice while things are becoming complicated. Notably in Romania where it plays to a cop who is aware of things changing around him outside dealing with the guilt that he might face. In the end, Police, Adjective is a superb film from Corneliu Porumboiu.

Corneliu Porumboiu Films: (12:08 East of Bucharest) - (A Nine Minute Interval)

© thevoid99 2013

4 Months, 3 Weeks, & 2 Days

Originally Written and Posted at Epinions.com on 5/14/09 w/ Additional Edits.

Written and directed by Cristian Mungiu, 4 luni, 3 saptamani si 2 zile tells the story of two college students in 1987 Romanian in the final days of Nicolae Ceausescu era trying to arrange an abortion, which was illegal at the time. With the help of a doctor, they hope for things to go right but instead, the two women learn about the consequences and sacrifices they have to go through. A harrowing drama with some political insight about the times of Communist Romania, it's a film that is truly eerie about the dark world and how two women struggle to live in those harsh times. Starring Anamaria Marinca, Laura Vasiliu, Vlad Ivanov, Adi Carauleanu, and Luminita Gheorghiu. 4 luni, 3 saptamani si 2 zile is a harrowing yet mesmerizing masterpiece from Cristian Mungiu.

Two young women are living in a dorm at a university in Bucharest as they're packing things for a trip. Otilia Mihartescu (Anamaria Marinca) is trying to get things for her roommate Gabriela "Gabita" Dragut (Laura Vasiliu). Otilia goes to various rooms in her dorm floor for things as she later leaves to meet with her boyfriend Adi (Alexandru Protocean). Adi asks Otilia to attend a family dinner to celebrate his mother's birthday as Otilia isn't sure as she's asking for some money. She reluctantly agrees though isn't sure when she's coming. Later that day, she goes to a hotel to get a room Gabita had made reservations but it didn't go through. After getting a room at another hotel and at an expensive rate, Otilia calls Gabita, who is feeling ill at the moment to meet a mysterious man at a rendezvous point.

The man is Mr. Bebe (Vlad Ivanov) who talks to Otilia about what to do as he's supposed to meet Gabita. Otilia revealed what has happened as Gabita had messed things up for the meeting. Later revealing that she's four months pregnant instead of three, Gabita is desperate for the abortion as Mr. Bebe makes some news about what he must do and such while both women are short on money. Bebe reveals the warning of an illegal abortion which means he could spend 10 years in jail while the two women would also be in trouble. Otilia decides to make Bebe an offer he couldn't refuse but as temporary payment. During the abortion, Bebe gives them a warning about what to do with the fetus. After his departure, Otilia decides to leave to attend dinner at Adi's as she is furious at Gabita for her lies.

At the dinner party, Otilia meets Adi's parents and some friends where she meets all of them but sits in silence. Worried about Gabita, she tells Adi privately about what's going on as she heard a phone call earlier as she wonders what is happening. After leaving the party early, she returns to the hotel as she ponders all that had just happened.

The film is essentially a thriller of sorts but not a conventional thriller with lots of chills and suspense. Instead, it all takes place on an entire day from the perspective of the person who is helping her friend have this abortion. Considering the political climate of the time where abortion was illegal, it shows the consequences of what would happen. Writer-director Cristian Mungiu creates a drama that is chilling though the suspense doesn't come until the second and third act. He sets it up without giving the audience an idea of what's going on until later. Instead, he follows Otilia in her journey to get some money, meet her boyfriend, and then have a rendezvous with Mr. Bebe. What transpires is a series of events in which Otilia learns about the lies that Gabita made just to get the abortion while listening to things Mr. Bebe had to say.

Mr. Bebe might seem like a villainous character but instead, he's a man that is just doing a duty but gives warnings about what could happen as well as some consequences if things go wrong. What they had to do for him as payment is something neither women would think would happen it's the harsh realities they have to face. For Otilia, it's a disillusioning moment for her as what Mr. Bebe says, there's a price to be paid. The price is that of the friendship of Otilia and Gabita, the latter of whom is naive, timid, and at times, dishonest. When Otilia later tells her boyfriend Adi about what happened. He reveals his feelings for abortion as it puts a strain on their relationship forcing Otilia to do things that would change her life, even in the decision about what happens in this event.

Mungiu's direction is entrancing with its mostly hand-held work and still shots to convey the sense of drama and suspense that is unfolding. The hand-held work is slightly shaky in scenes to follow Otilia in her dorm and such while in some scenes, it's very still. There's shots that are long but it's always because Mungiu is being very attentive to what is happening. Even in a conversation piece as it's focused on a character while the voice of another is heard. By the third act, there's a moment of suspense where something could go wrong as the camera continues to follow Otilia in this traumatic journey with a scene that is too disgusting to watch as Mungiu doesn't shy away on what is shown. The reaction of course, would be of disgust but works for its drama. The overall work of what Mungiu does is truly superb in both the writing, direction, and presentation of the story.

Cinematographer Oleg Mutu brings a tinted yet saturated look to the film in many of the bright, day-time exterior and interior scenes. Even in some darkly-lit scenes, there's an intimacy to the camera but also something that is rough but not grainy. There's even scenes with very little light, it doesn't have the kind of Hollywood polish or over-lit cinematography style as Mutu's work is phenomenal. Editor Dana Bunescu does great work in the use of jump-cuts and smooth transitions to give the film a rhythmic feel in the editing. Even as she lets the scene play out and knowing when not to cut except for some kind of emotional, dramatic impact as the editing is done superbly. Production designer Mihaela Poenaru does a fantastic job with the look of the hotel room that the girls stay in which is dark and drab along with the lobby outside of the room. Even the look of the home of Adi's parents have a richness that is sharp contrast to the harsh world that everyone else is going through.

Costume designer Dana Istrate does fantastic work with the clothing choices for the cast from the green and blue shirts that Otilia wears to the simple, brown-like clothing that Gabita wears to contrast their personalities and such. Also serving as a sound editor, Dana Bunescu along with Constantin Fleancu and recordist Cristian Tarnovetchi, the sound is phenomenal, notably in the third act to create a level of chilling sounds and such for its suspense. The film has no music score throughout the film except a song at the final credits by a Romanian singer.

The casting by Catalin Dordea is superb with its array of actors including Adi Carauleanu as Adi's father and from Moartea domnului Lazarescu, Luminita Gheorghiu as Adi's mother. In the role of Adi, Alexandru Potocean is excellent as Otilia's boyfriend who is concerned about Otilia's behavior only to realize what is happening though his feelings towards abortion seems to get the best of him. Vlad Ivanov is great as Mr. Bebe, the abortionist who seems mean only to warn the two women about the implication of what could happen as well as how much trouble both could be. Ivanov has this eerie presence where he could do things to them that are troubling as it's a great role from the actor.

Laura Vasiliu is very good as Gabita, the young woman seeking an abortion to naively believe that to lie about things would go smoothly. Instead, her lies, timid behavior, and lack of intelligence gets her into some serious trouble with Otilia and Mr. Bebe as it's a harrowing performance from Vasiliu. The film's best performance easily goes to Anamaria Marinca as Otilia. Marinca's performance is truly entrancing as we see her character handle everything while struggling with all that is going on with her and Gabita. It's definitely one of the best performances that was unjustly overlooked in many critics circle as well as a breakthrough for the Romanian actress.

4 luni, 3 saptamani si 2 zile is a harrowing yet provocative masterpiece from Cristian Mungiu featuring a superb, powerful performance from Anamaria Marinca. Audiences new to the Romanian New Wave will see this film as the best place to start. It's a film that is truly an unconventional thriller that pushes the edge of its constraints while adding a dose of realism and political surroundings to the story. It's not an easy film to watch and certainly one that will challenge anyone's beliefs about the idea of abortion. In the end, 4 luni, 3 saptamani si 2 zile is a mesmerizing yet eerie masterpiece from Cristian Mungiu.

(C) thevoid99 2011