In a dilapidated entertainment garden on the outskirts of Cluj, a homeless man is mixing in a non -polite way, or leaves of leaves full of leaves, fodder for garbage or treasure, and pushes a small mind for loud moving dinosaurs that are wasted hidden while passing. It is an image that envelops friction between comedy and tragedy, toning and strange, and Real and The Plantains, which refers to the new Radu Jude movie “Kontinental ’25”. In it, the abundant Roman writer and director re -experimenting with Gonzo’s increasing work to reflect the world as it is, which still allows a wide space to pass. The Old Jorusan Park and the prices do not like this strong accusation of the deteriorating social welfare in the post -socialist economy: humanity can prey on its own.
After 2023, “Do not expect much from the end of the world”, which is an ambitious spelling in the eccentric workplace, which was running for nearly three hours. This mature linear film may seem abnormal in an abnormal challenge, routinely, Sui Jersus exit. However, nothing about “Kontinental ’25” is easy, from his anger to political and historical commentary on a specific article of human despair, as he chases the viewer as much as the protagonist who suffers from the film’s guilt does. It is difficult to see an arthouse who supported such thorny provocations as “do not expect …” or “bad luck in hitting or extreme porn” that passes on this blatant title but on an equal footing, the third of which was the first offer in Berlin’s main competition.
The title is a reference to “Europe ’51”, Roberto Russelli’s movie in 1951, which had a major influence on Jude in the formation of his story. In this film, Ingrid Bergman played the role of the wealthy and unwanted wife, trying a humanitarian role in the wake of the personal tragedy. This path is almost reflected in “Kontinental ’25”, although the details are completely different: for the middle age beige (Eszter Tomba), a strange suicide sends it to a cycle of shame on its complicity in the capitalism of the state and the worsening national housing crisis. She also seeks a kind of redemption, although every gesture of this is insufficient and self -served: less sarcastic than it is explicitly desperate, the Jude movie draws a dark image of systemic inequality that does not involve individual work.
It opens the attractiveness of the dinosaurs mentioned above, which is an opening sequence of the film, and it is able to gradually from the opening sequence, follows Ion (Gabriel Spahio), and he is slowly walking in the streets and high -end games from the capital via the informal Transylvan, and he can change, and in the end he reaches the place of his residence – Single lower dark floor boiler room from a handsome internal building. It is not clear how long he was sitting there, but his time has ended: After he had already issued many warnings, Ursolia arrives at his door by notifying the evacuation, and promised to find him a place in a shelter if he left immediately. “You have to treat people well,” Gendarmes tells the help after giving 20 minutes to be packed, and during this period, in an unspecified scene, the miserable man hangs himself from radiator with steel wires.
It is visible that the viewer finds it difficult to get rid of it. The amazing ORSOOLYA is certainly not able to do so, as in the following days, it begins to transfer the accident to anyone who will listen, from her friendly friend Dorina (Merrya) to her most solid mother (Anameriya Peloska) to her priest (Servan Pavlu), who confirms Her brilliantly, she does not need to feel any sin, because no one is without sin. It has been exempted equally at work, as colleagues insist that she is “more than human” in performing her job – although none of this calms the Ursolia conscience, as the feeling of inflammation he did was just her work in the first place.
Facing a chance with the handover contestant Farid (Adonis Tanta, at a focused movement turn) is more motivated by: a former student than her previous job as an unlikely professor of philosophy and nihilism law, that she withdrew for a short period of compassion herself. What led to her change in her career is not specifically treated, although it is a symbol of a broader social transformation towards profit on the principle. The wonderful performance of TOMPA shows the best version of the same that you want to be, not the least of which is through its sincere expressions of sadness, but this integrity is often unclear by contentment with self and contentment. She wipes her constantly attractive face for a short time when she made a charitable donation through a revolutionary dopamine blow, effectively – only for fog to quickly settle again on her forehead.
As is always the case in Jude’s work, “Kontinental ’25” is rich in fun communications with all other types of texts, including a collection of classic films that refer to it less clear than “Europe 51”. There is a brilliant structural signal to “Psycho”, with its amazing transformation in focusing on the character that is also placed on Orsolya sites as a killer, while briefly on Savage 1945 “Noir”. However, the Jude film industry is currently firmly. It was quickly photographed and pottery on the iPhone-very quickly, in fact, the Nesron viewers may discover a sticker for “We Live In Time” in the background of one scene-the film’s pictures are difficult and unlimited in an unlimited way, which tends away from the attraction of the tourist Klog.
Instead, the large products are allocated to the new construction projects in the city, none of them to help housing in poor statues, urban statues of various competing tall statesmen, which are now dwarfed by bricks and mortar shells of progress. At the top of the devastating human image, “Kontinental ’25” acts as a piece of a segmented and manufactured city such as Rome Rossilini: Jude takes over the new realism, if you will, for the sake of the era of tampering.