Apparently, everything is simple. Probably the name In pronunciation, director Mihaela Popescu’s feature debut, warns us that we’re about to see a new, yet another production about judges, lawyers and plaintiffs. The last are simple, marginal people, accused sometimes of stealing scrap metal, sometimes of rape. Apparently, nothing sensational, maybe just the knowledge with which the director chose performers from those who had quarrels with the law.

However, the phrase in the title also has a secondary meaning, the function of which is to set up and confirm the film’s uncertain ending.

The main character, a man named Andy, he is about 40 years old, a judge by profession, he became the head of the court. This is what is called a successful person. He has money, a reliable and well-paid profession, a house somewhere in the center of Bucharest, decorated with taste and style. Andy is married to Lara. The marriage between the two is not quite good, the wife has something to reproach her husband for. Maybe he neglects her, maybe he is late and often goes to and from work, maybe he comes home drunk. In this regard, the sex scene is important. Rape by law. Two scenes shot in the courthouse corridors and later in the courtroom are some of the best in the entire production. And this is thanks to the way the director was able to cooperate with the cinematographer Marius Panduru, whose camera moves slowly, as in the films of the new wave, insisting on every detail of the setting (Cristian Niculescu and Andrea Pop), which, after a moment, they seem to lose their contours. This is also evident in the way they insist on characters. She is superbly played by Dorothea Petre and Cousin Thomas (K and Andi respectively), Krengutsa Hariton (the clerk) and the late Theodore Corban (the prosecutor), the latter offering a real lesson in acting through an exemplary artistic manner, not theatrical, not at all rhetorical in the reader requests of the Public Ministry. Sanctifying the boredom from which not only he suffers, but also Andy (who at some point can no longer follow the flow of facts and the chain of arguments) and the clerk. The same Marius Panduru insisted on external sequences, on Bucharest at night, on the bar scenes and on the performance of the local dancer (Laurette Attindeu), on the physiognomy of Lara (Olimpia Melinte), or on the silent walk of the old and sick father K (Ion Arcudeanu), or on the path of being a mother (Aleksandrina Halic). Only here, certainty becomes uncertainty, initially clear accounts are suspended and deliberately undermined.

Only that In pronunciation this is not a film about justice and judges at all. In the end, Andy’s profession doesn’t matter. And it’s not a realistic movie either. And belonging to the new wave is thrown into the air.

Realism is as much as it is covered by surrealism. Something can be seen from the first sequence. This is Andy’s awakening. Andy is not the only one in the matrimonial box next to Lara. Ci and K. A kind of double and opposite of the character. Animus/Anima. Woman man. Andy is blunt, he’s violent, he’s straight, a violent man who doesn’t speak, actor Tom Cousins ​​doesn’t say a word. K is rational. to measure The character’s critical, reproachful conscience. After waking up, Kay cuffs Andy with a collar. He unties him only to let him fly. The two, Andy and K., walk down the street together. uniform Cadence. Very often they look at each other. They both need confirmation. But often K disapproves of Andy’s actions. Oppressed by life, monotony, Andy seeks salvation in the arms of K., on the chest of K. -Read the full article and comment on Contributors.ro