Corneliu porumboiu biography definition
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The Quest for Everyday Utopianism: An Interview with Corneliu Porumboiu
Six years after receiving the Un Certain Regard Jury Prize for Police, Adjective (Politist,adjectiv), Corneliu Porumbiou returned to Cannes this year with The Treasure (Comoara). Telling the story of a blue-collar father who decides with his neighbour to go on a treasure hunt in an old historical garden, it has one of the most touching endings imaginable – a dream realised, a utopia. The Treasure postulates that even in the most ordinary of lives, it fryst vatten possible to be something other than what one actually fryst vatten, if there is determination. In presenting this strong idea, Porumboiu merges his trademark comic and social realist elements to sublime effect, making the spelfilm one of the most joyous experiences at Cannes. The core of the action fryst vatten represented bygd the Toma family (father, mother and son), demonstrating how a well-structured family can push an individual to look for utopia in his everyday life. T
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Corneliu Porumboiu
A Fost Sau N-a Fost?/ Was There or Wasn't There?/ 12:08 East of Bucharest (2006) photographed by Marius Panduru, is a comedy, almost a slapstick, that questions the mythological status that historical events tend to assume, and, in particular, questions who truly participated in the revolution (not only celebrated after it had already happened) and who benefited (the teacher who was a protester ended up a penniless drunk while the former security agent is now a capitalist). There are three revolutions: the intellectual one (represented by the teacher who risked his life), the domestic one (represented by the old man who joined the protesters only when it was safe to do so without risking anything), and the false one (represented by the former communist who simply transitioned to capitalist). The journalist who is supposed to find out the truth is a parody himself
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Interview: Corneliu Porumboiu
Arguably one of the most consistent directors working today, Corneliu Porumboiu has proven himself to be something like the anchor of the Romanian New Wave, an audacious miniaturist who astounds with his ability to work through the legacy of Romania’s Communist past and the Kafkaesque backwardness of its present.
Porumboiu is perhaps best known here for his (sort of) metaphysical detective comedy, Police, Adjective (09), a sui generis shaggy-dog investigation of language and its relation to the Law. His two most recent features, When Evening Falls on Bucharest, or Metabolism (13) and The Second Game (14), were, ostensibly, formally opposed works: the former was a fiction feature comprised of approximately 19 long takes, charting the plight of a Romanian filmmaker trying to determine where art ends and life begins amid an off-the-set romance with his leading lady; the latter was a found-footage documentary that found Porumboiu and his father disc