‘The New Year That Never Came’ Review: A Tragicomic Tangle of Romanian Lives at the End of an Era

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Several short films are often made to serve as previews for future full-length movies, providing a tantalizing glimpse into a larger story, although they may not be entirely satisfying on their own. However, Bogdan Mureșanu’s critically acclaimed 2018 short film “The Christmas Gift” seemed to buck this trend. With its poignant and darkly humorous portrayal of a child’s perspective on political terror through an unintentional act of protest, it stood well on its own as a standalone piece. In Mureșanu’s debut feature film “The New Year That Never Came,” however, “The Christmas Gift” is skillfully integrated into a series of interconnected vignettes, creating a fragmented yet cohesive depiction of the social and political upheaval in Romania during its final days under communist rule.

Amidst the momentous backdrop of the revolutionary week leading up to Nicolae Ceaușescu’s downfall, trial, and execution on Christmas Day 1989, the film weaves together a series of poignant human stories that build both scale and intensity. Although it clocks in at 138 minutes and can be a bit confusing initially, this film is a symphonic masterpiece that justifies its continuous use of Maurice Ravel’s “Boléro” during the climactic scenes. The film was awarded the top prize in Venice’s Orizzonti competition last year, as well as the New Voices New Visions Award at Palm Springs. A late-career transition from writing to filmmaking, Mureșanu clearly aspires to be counted among the most ambitious contemporary Romanian filmmakers.

Over the course of merely two days in December-stripped Bucharest, intense anger against the Ceaușescu regime boiled up from the ground level, creating a stark contrast with the winter’s chill. The film “The New Year That Never Came” builds strong dramatic tension due to the unexpectedly rapid downfall of the president: At this point, none of the characters are aware that he will be dead within a week or that Romania is on the brink of its post-communist era. Fear and suspicion about supporting or opposing the current dictatorship permeate the intricate plotlines woven by Mureșanu in his original script. Rumors of an impending government-sanctioned massacre of protesters in Timișoara grow more urgent as the story unfolds, eventually igniting a furious outcry.

For two cold days in Bucharest, people were furiously protesting against the Ceaușescu regime. Most didn’t know that the president would soon be dead and Romania was about to enter its post-communist era. The movie “The New Year That Never Came” is suspenseful because the president’s downfall happens so quickly. Rumors of a government-ordered massacre of protesters in Timișoara spread through the story, building up to a big outcry.

For Florina, a distinguished stage actor portrayed by Nicoleta Hancu, the memory of Timișoara’s tragedy lingers heavily. An unexpected offer arrives from producers of a jingoistic New Year’s Eve TV special, an offer she finds hard to refuse despite her desire to do so. The show has already been filmed, but their original star is no longer welcome due to recent defection, making look-alike Florina essential for reshooting the scenes. This opportunity promises Florina unprecedented career exposure, yet she hesitates at the thought of recording a “compulsory tribute” to Ceaușescu on camera, extolling him as “the embodiment of love for this country.” Meanwhile, producer Stefan wrestles with his own concerns; his son Laurentiu, a university student, has caught the attention of the feared Secret Police following his involvement in a satirical play and is now trying to escape Romania.

Among the detectives, Ionut (played by Iulian Postelnicu), is juggling personal issues as well. He’s recently moved his mother Margareta (Emilia Dobrin) into a new home because her old one was scheduled for demolition by the government. Despite the move, she can’t seem to let go of the past. One of the movers, Gelu (Adrian Vancica), is asked for a favor by Margareta – a request that becomes significant in the movie “The Christmas Gift”. This storyline, both amusing and heart-wrenching, tells of the domestic chaos that ensues when Gelu’s son innocently repeats his father’s desire for Ceaușescu’s demise in a letter to Santa Claus. This is the most poignant and bitingly funny of the film’s interwoven narratives.

Following an initial section that could potentially confuse some viewers due to a rapid succession of characters without much background information, Mureșanu and editors Kovacevic and Lacatus skillfully establish a flowing pace for their intricate narrative, weaving together shared personal and political elements across various storylines while simultaneously preserving a clear sense of chronology. However, the individual tale of Laurentiu seems to lack the depth found in other narratives; nonetheless, the contrasting themes and demographics between scenes are thoughtfully presented and enlightening.

Filming smoothly within the confined Academy aspect ratio, reminiscent of television broadcasts central to the plot, cinematographers Boroka Biro and Tudor Platon effectively portray the gloominess of Communism’s final breath through a color palette of drab browns and pale institutional blues. Similarly, the period setting and costume design are meticulously grungy, from clunky rotary phones to textured knitwear, yet devoid of any nostalgic longing for the past; instead, the 90s seem to offer a glimmer of hope for a return to familiarity. If the past is another country, the future, or at least the ’90s, promises some level of comfort.

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2025-01-21 07:16