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It's unclear whether the latter approached her because he recognized her from the video or because that's just what clueless older men sometimes do, and this ambiguity, too, is not as important as the overall vibe of the movie, which somehow inexplicably feels like life.
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Emi confronts a driver whose vehicle is illegally parked up on a sidewalk, and avoids an older man who wants to give her a rose and make small talk. Along the way there are encounters that subtly drive home the arrogance, entitlement and misogyny of men in this society. Much of the film consists of shots of the heroine, dressed in the outfit that she's chosen for the inquest, traveling around Bucharest on foot, going to the market and then visiting sympathetic but concerned family members and eventually ending up at the hearing, which is conducted with appropriate social distancing because the film was shot on real locations during the peak of the COVID-19 pandemic. Jude goes about that task in the spirit of a filmmaker like Robert Altman or Richard Linklater, who often made so-called "network narratives" (a term coined by the great film scholar David Bordwell) that avoided conventional storytelling techniques and adopted more of a hanging-out approach, following a character or characters from one place to another, watching what happens during the journey or at the destination, then picking up those characters or others and following them to the next location.Īltman was especially good at settling on storytelling devices that would carry the viewer to the next point of interest, such as a roving sound truck in " Nashville" or the fleet of helicopters spraying Los Angeles to kill medflies in " Short Cuts." The equivalent here is Emi herself.
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The exact circumstances are a bit unclear-I think the husband uploaded the video to a private server, and some unknown third party downloaded it and put it up where the general public could see it-but for narrative purposes, they don't matter, because while the movie is concerned with whether Emi will lose her teaching job over the video (the entire film takes place in the lead-up to her inquisition) it's all just the means to an end: showing the contradictions and hypocrisies of Romanian society. The main character is Emi Cilibiu ( Katia Pascariu), a secondary schoolteacher who makes a porno video at home with her husband only to have it escape onto the Internet (as such videos tend to do).
As it turns out, this is the sort of scene that could have appeared in this wry feature from Romanian director Radu Jude, which won the Golden Bear at the Berlin Film Festival.
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