A tiger on the loose terrorizing the inhabitants of an unnamed city becomes the launching pad for a meditation on love, loss and grief in Romanian filmmaker Andrei Tănase’s feature debut, “Day of the Tiger.” The film, which had its world premiere in the Bright Future strand at the Intl. Film Festival Rotterdam, plays this week at the Transilvania Film Festival.
The movie follows Vera (Cătălina Moga), a rundown and emotionally drained veterinarian grappling with some unknown grief as she plods through her daily routine at the zoo. She’s suddenly shaken by the arrival of a tiger that was being kept as a pet by a local gangster, awakening her long-dormant nurturing instincts.
But revelations about Vera’s failing marriage soon rise to the surface. And as the vet and local authorities play a dangerous cat-and-mouse game to catch the escaped tiger, she must engage in her own...
The movie follows Vera (Cătălina Moga), a rundown and emotionally drained veterinarian grappling with some unknown grief as she plods through her daily routine at the zoo. She’s suddenly shaken by the arrival of a tiger that was being kept as a pet by a local gangster, awakening her long-dormant nurturing instincts.
But revelations about Vera’s failing marriage soon rise to the surface. And as the vet and local authorities play a dangerous cat-and-mouse game to catch the escaped tiger, she must engage in her own...
- 6/13/2023
- by Christopher Vourlias
- Variety Film + TV
Written by Zornitsa Staneva
Following in the wake of Woody Allen’s chirpy Hollywood comedy “Café Society”, Cristi Puiu’s Sieranevada, the Romanian opening of the official competition feels like a product of a wholly different planet and art form. As soon as the opening sequence various cinematic categories can be facilely slapped on “Sieranevada”: a filmmaker’s film, “art house” at its bleakest and most minimalist, a three-hour long cinéma-vérité experiment in a shabby post-communist apartment…
All of the above are certainly applicable and from the outset the film’s premise is to demand the audience’s patience, a lot of it. We will be served a concoction of never-ending naturalistic dialogue set in the kitschy, shabby apartment of a Bucharest grandmother whose husband has recently passed away; a heavy dose of Romanian funerary culture; the lingering ‘afterglow’ of Romania’s communist regime; some intermittent comic-relief references to...
Following in the wake of Woody Allen’s chirpy Hollywood comedy “Café Society”, Cristi Puiu’s Sieranevada, the Romanian opening of the official competition feels like a product of a wholly different planet and art form. As soon as the opening sequence various cinematic categories can be facilely slapped on “Sieranevada”: a filmmaker’s film, “art house” at its bleakest and most minimalist, a three-hour long cinéma-vérité experiment in a shabby post-communist apartment…
All of the above are certainly applicable and from the outset the film’s premise is to demand the audience’s patience, a lot of it. We will be served a concoction of never-ending naturalistic dialogue set in the kitschy, shabby apartment of a Bucharest grandmother whose husband has recently passed away; a heavy dose of Romanian funerary culture; the lingering ‘afterglow’ of Romania’s communist regime; some intermittent comic-relief references to...
- 5/15/2016
- by Ben Vollmer
- SoundOnSight
For this critic’s money, of the several excellent filmmakers to emerge from the Romanian New Wave, Cristi Puiu ranks as the most formidable. After kicking off his career in 2001 with the outstanding Stuff and Dough, a small-scale but expertly modulated road/drug-deal movie, Puiu made two bona fide masterpieces back to back: The Death of Mr. Lazarescu and Aurora. While his newest dramatic feature, Sieranevada, may fall just short of M-word classification by not reaching the same level of radical invention as its two predecessors, it is nonetheless another proud entry in Puiu’s stellar filmography.
Unlike Aurora, which was largely made up of silences, observing its solitary everyman protagonist as he wandered around before and after committing a quadruple murder, the dialogue in Sieranevada rushes forth in a stupefying torrent that begins as soon as the opening credits finish and is sustained almost without cease until the film’s closing image.
Unlike Aurora, which was largely made up of silences, observing its solitary everyman protagonist as he wandered around before and after committing a quadruple murder, the dialogue in Sieranevada rushes forth in a stupefying torrent that begins as soon as the opening credits finish and is sustained almost without cease until the film’s closing image.
- 5/12/2016
- by Giovanni Marchini Camia
- The Film Stage
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