About two or three weeks ago, the statement of Mrs. Anka Mitran, the director of the scandalous National Center of Cinematography, caused excitement and outrage in the world of cinematographers. The woman in question said that “all our directors make films for festivals, art films. And then we have an acute shortage of films for the public.”

There is no need to spend time analyzing the hermeneutics of Ms. Mitran’s statement. It is needless to emphasize that even under the current director of TsNK, our audience would be somewhat ignorant, somewhat tasteless and would go to the cinema only because they want to laugh. Now let’s just note that the director forgot that it was the Center that she heads that also financed the film Weddings, christenings and funerals to, as I think, debutant on the field Alexander Lustig. Promotional materials say that it would have three stunning successes TV theater. Where he mounted several major titles. Cherry orchard, Furtuna and Mantle. Yes, it’s true, true. Alexander Lustig won the corresponding major titles. It is also true that the respective productions (or at least some of them) were nominated for the UNITER award. Nor could it be, as the production of TVRs in this industry is small, tiny. And this year is the first of the glorious mandate of CEO of Mr. Dan Christian Turturik, TVR productions in the branch TV theater it’s even zero, so keeping this award category also required unlimited leniency on the part of the nominations jury.

Alexander Lustig and the production directed by him received money from many other sources, he also had many sponsors. That’s what happens when you’re a guy from a good family. Honni soit qui mal y pense! In principle, everyone does as they can and according to the knowledge they have.

what is actually Weddings, christenings, funerals? While watching the film, my thoughts turned to prose Surroundings Iona Beyeshu. As in the play mate the same Boy. The protagonist of the film, played very well by Sherban Pavlu, allows himself to be deceived by the favorable situation and impulses characteristic of 2007. The year of Romania’s accession to the EU: when no one talked about the economy and the financial crisis that would show its fangs a year later. He buys a plot of land, tricked into thinking it will be an oasis of peace, with the idea that he will build houses and small houses (about eight) there and make a million euros as easily as possible. But the developer in Volos goris he has no idea when he signs that the club is in the immediate vicinity Prestige. Belongs to the Gogea family. Husband and wife, whose interpretation fell to the actors Gheorghe Ifrim and Anca Sigartau.

In the corresponding club, which is managed by Mr. Man (Dan Radulescu), he organizes noisy weddings and christenings weekend after weekend. Music at full power. No mention of the promised peace. So a legal war begins between the poor investor’s family and the event organizer’s family. War in noise and music. Which lasts ten years in a row. Costs on both sides. The investor even has to strategically divorce his wife (Anka Mateya) in order to hide his wealth. Following the advice of a good lawyer (Ioan Andrei Ionescu), the Gogea family cynically undermines the marriage of their daughter (Ilona Brezoianu).

The action has an undeniable dynamism, some lines are undoubtedly funny, not for a moment vulgar (yes, nowadays it is a play), everything tends to grotesque antics. Thickened sometimes far beyond the forgiving edges. Alexandra Lustig as a director and Adrian Lustig, until yesterday a hard-working playwright who turned into a screenwriter of the film, want to extract not only the rich overnight, not only the lying salesmen (Silvio Debu), not only the correspondents of the milkmaid over a century from the famous fable of Lafontaine. But also corruption in the police (spicy Nikodim Ungurianu and Ruksandra Maniou) and the prosecutor’s office (Virgil Ioanei). Like the bad growth of those who got rich overnight, the bad taste of those who consume manele, and the beggars organized into a union (I noticed Cătălin Babliuc and Ciprian Nicula) or the tagma of the reborn (Alexandru Bindea), and the voluntarism of the mother-in-law (Liliana Gice)

I admit, I watched the movie not like a sphinx. I honestly admit that I laughed. Read the whole article and comment on Contributors.ro