CMFH Film Reviews

2007, Romania
Drama
Review by Deborah Dearth

READ THE REVIEW AT The Desert Sun.

A woman's right to choose is a prickly subject in modern day America. Imagine the same predicament in 1987 communist Romania.

As the festival darling of the year — accruing awards from 16 organizations, including the Cannes Film Festival's prestigious Palme d'Or — it is a wonder that 4 Months,3 Weeks and 2 Days did not become an Academy Awards Best Foreign Language Film nominee much less the winner. As one of the most creatively clean and internal offerings, the lack of the latter honor tarnishes the Oscars, not the film.

Set during Nicolae Ceausescu's totalitarian regime, the period infuses every action without the need to discuss politics. Cosmetics and cigarettes are bough on the black market and purchasing tickets often entails bribery. Everyone knows how to work the system, but they are also aware of the risks involved. When an ID is required for every legitimate action, there is an understandable desire to find an alternate option that does not leave a trail.

As the public maneuvers daily landmines, two college students find themselves in the dangerous territory of abortions. Their goal is not made clear until half an hour into the film, but as the camera focuses on the day-to-day actions of a cautious world, there is nothing lacking in the build-up.

Otilia is the loyal friend who guides her roommate through the difficult procedure. Anamaria Marinca portrays Otilia with a superbly natural display of emotions — shrewd and concerned as a caretaker and simmering with resentment when betrayed. Laura Vasiliu portrays the girl in trouble, the meekishly naïve Gabita who has not yet learned how to traverse a city of necessary lies.

The cinematography by Oleg Mutu (The Death of Mr. Lazarescu) is perfect in its simplicity and notable for its effectiveness. Filmed in real time and using only one angle that is held for extended periods, the camera acts as a casual observer, or at least the distracted focus of the characters. A distant argument is observed from inside a car, bodies partially leave the frame and a girl views her room from the self-imposed prison of her bed, all of which contribute to the illusion of becoming part of the scene through a lack of omniscience. Still shots appear wobbly and handheld without feeling cheap — the low-tech style flatters a straight-forward narrative and tension guides the mood without the need for music.

Director Cristian Mungiu shines a sweeping spotlight on the state of affairs in twentieth century Romania with one hand while keeping his eyes focused on the heightened problems of two citizens. The moment feels captured rather than contrived as the girls risk everything for a future of better opportunities.