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Gianina, a young Romanian, works as a housekeeper for a bourgeois family in Bordeaux. In the evenings, she rehearses the role of a maid with an amateur theater troupe in an adaptation of The Diary of a Chambermaid by Octave Mirbeau. She takes care of Louen, her employers’ son, while her own daughter is growing up far from her, in Romania. The maternal absence deepens into a wound but, as Christmas approaches, the promise of a reunion begins to take shape.
In modern-day Transylvania, vampire hunts and labor strikes collide with sci-fi twists, romance, and AI-crafted tales, as multiple storylines blend folklore, classic horror, and contemporary elements into a fresh take on Dracula's legend.
On behalf of a multinational company, a production assistant drives around the Romanian city of Bucharest, interviewing various citizens who have been injured due to work accidents to cast one of them in a “safety at work” video.
In 1981, chalk slogans written in uppercase letters started appearing in public spaces in the Romanian city of Botoşani. They demanded freedom, alluded to the democratic developments taking place in Romania’s socialist sister countries or simply called for improvements in the food supply. Mugur Călinescu was behind them, who was still at school at the time and whose case is documented in the files of the Romanian secret police. Theatre director Gianina Cărbunariu created a documentary play based on this material.
During the 1980s, the American journalist Edward Serotta documented the harsh realities and Jewish life in socialist Romania. The secret services clandestinely accompanied him on his journey. A photo essay from opposing perspectives.
"I do not care if we go down in history as barbarians." These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.
Vintage pornography reels from the archives of Italy’s National Film Museum display over an AI recitation of Dante's The Divine Comedy.
During the summer of 1937, Emanuel, a young man in his early twenties, is committed to a sanatorium on the Black Sea coast for treatment of his bone tuberculosis. The treatment consists of painful spine punctures that confine him to a plaster on a stretcher-bed. Little by little, as Emanuel gets accustomed to the sadness of his new life, he discovers that inside the sanatorium there is still a life to be lived to the fullest.
Set in early 19th century Wallachia, Romania, a policeman, Costandin, is hired by a nobleman to find a Gypsy slave who has run away from his estate after having an affair with his wife.
From the music of Japanese composer Shigeru Umebayashi, Romanian filmmaker Radu Jude crafts a coda to Do Not Expect Too Much from the End of the World. This short film is part of the 2x25 Project of Film Fest Gent and the World Soundtrack Awards. The project commissioned 25 composers to compose a short piece of music, after which 25 filmmakers made short films that are the ultimate symbioses of music and cinematography, fitting completely within the DNA of the festival. The result: 25 exceptional films where the music inspired the form, narrative and texture.