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.
Part of a series of promotional films commissioned by Romania's National Tourism Office in the early 1970s with the aim of reconnecting diasporic communities with the country they left behind. In this case, the film is addressed to Jews who emigrated in the context of the Second World War or were sold by the Romanian state to the State of Israel starting in the 50s and settled in Israel and the USA - therefore, a target group made up of seniors, probably retired , possibly prosperous, eager to revisit the places of youth and willing to forget, temporarily, the traumas associated with them.
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.
Director Eugenia Gutu offers a feminist critique of gender (in)equality under socialism in this documentary portrait of an industrializing town and its model citizen, Florica S.
Counterintelligence film from communist Romania.
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.
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.
An illustration of the evolution of the working conditions in the communist era, compared to the interwar period, using as a pretext a recently modernized factory in Jilava, presented in a mirror with the one described in a 1934 report by Geo Bogza.
A compassionate portrait of a lonely old man’s attempt to reconnect with his estranged family is transformed into an investigative cinema verité procedural.
"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.
A playful representation of the snobbery of communist middle class parents, for whom grades are more important than the real interest in their children's needs and curiosities.
" Advertisement film for video games made by CENTROCOOP. "
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
Produced at the request of the Executive Committee of the People's Council of the capital, "Our Neighborhood" follows the story of a locomotive mechanic and his neighbors, recently assigned to the newly constructed buildings in Floreasca. Set against the backdrop of the emerging residential areas, the film's narrative structure retains the spirit of socialist realism but is strongly influenced by the optimism and cosmopolitanism of the 1960s. Accompanied by rhythmic swing tunes, we follow the characters of this documentary, representatives of the working class, both at their workplaces and in the new, bright and airy apartments, integrated into the logic and aesthetics of the new socialist neighborhood.
Ada Pistiner’s investigation of the sources of substandard domestic items pushes its commissioned mandate to self-scrutiny, questioning both state-imposed industrial production and filmmaking processes.
Bearing the signature melancholy, affection, and absurdist irony of associative form that would define his filmography, Copel Moscu’s debut is a loving portrait of miners and their arduous, sun-deprived existence.
A cine-postcard directed at the Bucharest of 2080, For Our Heirs… is a charming time capsule whose innocuous humour and visuals will soon stand in sharp contrast to the harsh reality of the decade’s austerity measures.
A public service announcement condemning the ominous obstacle of social parasitism and delinquency amongst wayward youth unwilling to contribute to Romania’s socialist advancement.
Documentary about the fall of the old city of Orșova due to the construction of the Iron Gates hydroelectric power station.
Banned for 20 years during the communist regime in Romania, this short film depicts New York City through the eyes of a director and a writer.
