Radu Jude Returns to Wry Social Commentary, Absurd ‘Human Comedy’ in Berlin Golden Bear Contender ‘Kontinental ‘25’

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Four years following his Golden Bear victory for the provocative satire “Bad Luck Banging or Loony Porn,” Romanian director Radu Jude is back at Berlinale with his new film, “Kontinental ’25.” This movie will make its debut on February 19 in the main competition category of the festival.

The movie chronicles the story of a bailiff named Orsolya (played by Eszter Tompa), who finds herself in a moral dilemma after a man she was evicting, who was homeless, takes his own life. Overwhelmed with guilt, she seeks methods to alleviate her troubled mind, while simultaneously yearning for confirmation and approval from the outside world as her desperation intensifies.

Turning theory into practice can be more challenging than it sounds. As one might anticipate from a renowned agitator in global cinema, Orsolya’s circuitous journey towards redemption touches upon Jude’s broader issues, encompassing (yet not confined to) moral ambiguity, post-communist economics, nationalism, and the Romanian housing predicament. The intersection of these themes – and how a typical Everywoman like Orsolya navigates through them – may very well be the movie’s most intriguing enigma.

Jude points out that when we scrutinize our own responses to tragic events, they sometimes border on being laughable. For instance, consider someone who expresses indignation about the war in Ukraine on social media, only to promptly post a photo of their lunch. Now, I’m not implying criticism – I do it myself too. But what I find amusing is the incongruity, a sort of comical, Balzacian depiction of human life’s contradictions. It’s more about exposing the absurdities and complexities in our reactions to events rather than making a satirical comment.

As someone captivated by its profound exploration, I must say that “Kontinental ’25” is indeed a reflection of contemporary Romania, albeit cloaked within broader, universal themes. Jude masterfully chronicles the tumultuous journey of Romania over the past few decades as it navigates the uncharted waters of gonzo capitalism, and continues to grapple with the “transition period” following the post-socialist era – topics he delved into poignantly in his biting workplace dramedy “Do Not Expect too Much From the End of the World,” which made a compelling statement at the 2023 Locarno competition.

Although careful not to understate the “appalling and distressing” conditions under the Ceaușescu regime, which culminated in Romania’s turbulent democratic shift during the 1990s, the director frequently focuses on the disintegration of societal norms that ensued after the strongman’s departure. This era, marked by a lack of state support, was particularly painful for individuals who found themselves largely abandoned by the government.

As time passes, it seems that difficulties are growing even sharper, perhaps mirroring the extraordinary genius of Radu Jude. For instance, in November, Romania elected a far-right, pro-Russian leader as president, but this victory was later overturned by the constitutional court due to allegations of Russian interference. More recently, the incumbent president stepped down rather than face impeachment from right-wing parliamentary parties.

Despite being unamused by the chaos, the director finds a certain amusing twist in his nation’s continued shift towards the right. Referencing the recent re-entry of Donald Trump into the White House, Jude remarks that for a long time, America was portrayed as an exemplary model to emulate, a great democracy worthy of respect and imitation. Now, he observes, we are mirroring this democratic beacon which has just chosen a group of extreme right-wing leaders to govern the world.

As a movie enthusiast, I found “Kontinental ’25” a thought-provoking piece. Orsolya’s character seems entangled in a verbal labyrinth throughout the movie, her inaction seemingly a response to the tragedy she unwittingly became part of. Jude, in his insightful comments, suggests that Orsolya’s moral dilemma serves as an escape route, but he admits that both he and the film are grappling with similar complexities. The movie seeks to portray this perplexity, making it a central theme, if you will.

As a cinephile, I’ve come across “Kontinental ’25,” a movie that pays tribute to Roberto Rossellini’s “Europe ’51” in a unique way. Much like Rossellini’s post-war drama, it follows a woman grappling with guilt and seeking redemption. However, the Romanian director’s perspective, set in the bustling Transylvanian town of Cluj, veers away from the metaphysical tragedy of its predecessor and delves into a more contemporary blend of humor and drama – a potent mix I’d describe as a sort of satirical take on Rossellini’s work.

The movie showcases a simplicity reminiscent of the Italian neorealists’ style. Titled “Kontinental ’25”, it was filmed using an iPhone, echoing Rossellini’s concept of “poverty of means”. This meant shooting in just 10 days without any lighting or grip equipment, focusing only on dialogue and natural surroundings – a method that Jude found freeing.

At the moment, the film director is working on a post-production phase for his upcoming “Dracula” movie, which he aspires will be a stark contrast to his previous work that was in contention for the Golden Bear award. If he considers “Kontinental ’25′” to be his response to Roberto Rossellini, then perhaps you could say that “Dracula” is his tribute to Ed Wood.

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2025-02-17 08:47