PAST AND FUTURE ­ Some significant data about the history of Romanian Cinema

The history of the Romanian cinema starts in 1912 with a success: Grigore Brezeanu’s The Independence of Romania, which partly covered its expenses due to support from some businessmen and the enthusiasm of a few intellectuals. To develop the technical base of Romanian cinematography, the National Cinematography Fund was founded in 1934 and the National Film Office in 1938. Paul Calinescu’s documentary Tara Motilor (The Country of the »Moti«) was awarded the Lion of San Marco Plaquette at the 1938 Venice film festival.
        After 1945 Romania acquires a new political orientation. The nationalization of the Romanian cinema industry takes place in 1948. Despite ideological barriers, some talented filmmakers succeeded in breaking through both on a national and international level. In 1957 the animated short Scurta istorie (Short History) by Ion Popescu Gopo was awarded the Golden Palm in Cannes. In 1965 Liviu Ciulei’s Padurea spanzuratilor (The Forest of the Hanged), based on Liviu Rebreanu’s novel with the same title, was awarded the Prize for Best Director in Cannes. Liviu Ciulei became an important name in Romanian cinema, although his international fame is due mostly to work in theatre. In 1966 Mircea Muresan was awarded the Opera Prima prize in Cannes for this first feature, Rascoala (Blazing Winter).

        An outstanding director who ignored the schematism imposed during those years of ideology was Lucian Pintilie. He approached the problems of the young generation, showing the social mechanism that defeats their ideals. His Duminica la ora 6 (Sunday at Six O'Clock) was awarded the Grand Prize at the Rencontres Internationales Film et Jeunnesse (Cannes 1966-1967). In 1969 his Reconstituirea (Reconstruction) was banned by the censors after a month in release without an official premiere. In 1971 the full-length documentary Apa ca un bivol negru (Water Like a Black Buffalo) was awarded the Diploma of Honour at the Rencontres Internationales Film et Jeunesse (Cannes 1972-1973). This film, made by young filmmakers with different personalities but united by the same artistic and moral creed, introduced the so-called »1970’s Generation« ­ composed of Dan Pita, Mircea Veroiu, Stere Gulea, Iosif Demian, and Nicolae Margineanu, among others. Another important Romanian filmmaker, Mircea Daneliuc, considered a rebel by his colleagues, succeeded in approaching social truth by displaying it bluntly. His films Cursa (The Long Drive) (1975), Editie Speciala (Special Issue) (1978), Proba de microfon (Microphone Test) (1980), and Croaziera (The Cruise) (1981), didn’t bow to oppressive Romanian reality and deteriorating human values.

        After 1989 the liberation of ideological constraints was dazzling. The power to decide over film production, so hindered by censorship before 1989, was entrusted to some film directors. The fact that film creation would bow to economic pressures just as cumbersome as censorship, maybe moreso, was ignored at first. Film production diminished abruptly, even if some Romanian films were awarded at important film festivals: Dan Pita’s Hotel de Luxe, Silver Lion at Venice in 1992, and Lucian Pintilie’s Terminus Paradis, Special Jury Prize at Venice in 1998. One recent Romanian production, Marfa si Banii (Stuff & Dough) (2001) by young talented Cristi Puiu, was selected by the Quinzaine des Realisateurs in Cannes in 2001, and was then invited to more than 30 international film festivals, winning 7 international awards in Trieste, Cottbus, Buenos Aires, Thessaloniki, and Angers. Another talented young film director is Cristian Mungiu, whose debut feature film Occident was also chosen by the Quinzaine des Realisateurs in Cannes in 2002 and has enjoyed tremendous success. Recently this film won the Grand Prix at the First Transilvanian International Film Festival in June 2002. Sinisa Dragin’s In fiecare zi Dumnezeu ne saruta pe gura (Everyday God Kisses Us on the Mouth) also won important prizes in Rotterdam (Tiger Award), Cairo, and Alba.
        In 2000 the National Centre of Cinematography (CNC) was founded, along with a new law to foster not only hope but also the revival of Romanian cinema. The new film law supports numerous opportunities for film production. Screenplay contests are organized twice a year, and projects guarantee equal opportunities to those with proven talent. The CNC finances 65% of the film budget (as a reimbursable credit in 7 years). The rest of the film’s budget should be covered by possible sponsors. In 2002 the CNC issued the first edition of CINEMA magazine and awarded Romanian Film Prizes at a ceremony. Romania is a member of EURIMAGES since June 1998, also of Eureka Audiovisuel and SEE Cinema Network. Starting the 1st of July 2002, Romania became a member of the European Co-production Convention.

Alina Salcudeanu, Head of International Relations,
National Centre of Cinematography