R.M.N.

Cristian Mungiu is one of the "founding fathers" of the Romenian new wave that started around 2005 with movies such as "The death of Mr Lazarescu" (2005, Cristi Puiu), "12:08 East of Bucharest" (2006, Corneliu Porumboiu) and of course the breakthrough movie of Mungiu himself "4 month, 3 weeks and 2 days" (2007). More than 15 years later the Romenian new wave is still alive and kicking. In 2022 the experienced director Mungiu delivers an excellent movie with "R. M. N" but there is also the "new name" Alexandru Belc with "Metronom". New name is maybe a bit exaggerated because Belc already contributed to the script of "4 month, 3 weeks and 2 days".

"Metronom" is situated in 1972 during the Ceausescu years and is thus typical Romenian. "R. M. N" covers more general themes. It is about Matthias (Marin Grigore) and his home village. After working in Germany for a while Matthias returns to his home village. In this village three Sri Lankan workers arrive at the local bakery because vacancies are difficult to fill (many workers work in the West). The arrival of the Sri Lankan workers leads to a lot of tension in the local community.

The above description seems to indicate that "R. M. N" is above all about racism, and that is not entirely untrue. In a key scene with a duration of twenty minutes there is a meeting in the village hall. In this meeting all prejudices against the Sri Lankan (and foreigners in general) are given free reign.

In my opinion "R. M. N" is about racism but not only about racism. It is also about hypocrisy. I give a number of examples.

In the first place Romanians working in Germany is no problem, but a Sri Lankan working in Romania is.

The film is situated in Transsylvania, a region with a Hungarian minority. This minority wants not to be discriminated against, but on the other hand has no problem discriminating other people.

There are also people defending the Sri Lankan workers, but this are their employers that have an economic interest. Their defence that no Romenian reacted on the vacant positions meets with the reply that they were only willing to pay minimum wages. So their bevaviour has at least a hint of hypocrisy to it. They are certainly not the good guys against the evil and dumb majority. In the films of Mungiu there seldom is a simplistic good versus bad distinction. In this respect the portrayel of one of the empoyers (Csilla Szabo played by Judith State) as always drinking a glass of red wine and always playing the cello was already a bit too "bourgeois" to my liking.

The village of the movie is situated on the edge of a primaeval forest. This is no coincidence as the forest symbolizes mystical and animal spirits, with recurring references to brown bears. These animal spirits overtake rational thought when it comes to reacting to foreigners. This is illustrated in the meeting in the village hall (in the scene already mentioned to) when some villagers tried to wrap their prejudices in rational arguments (maybe the foreigners carry unknown viuses with them). When their argument is refuted (we let them work with protecting rubber handshoes) the prejudice inside shows itself (but we simply don't want them here).

"R. M. N" is an ominous film with mob violence constantly in the air. In this respect it resembles "Werckmeister Harmoniak" (2000, Bela Tarr), although the last mentioned film is more abstact. The resemblance was for me the most obvious in the new years day parade with people in bear costumes fighting a neighbouring village as part of a new year tradition. For me this scene was the most Tarr like combining in an abstract manner animal spirits with xenophobia. The twenty minutes scene in the village hall did the same thing, but in a much more concrete way. This scene is more characteristic of Cristian Mungiu himself.

Greetings again from the darkness. Welcome to 'Hypocriteville". Or the town of Bigotry. Or Xenophobia City. Regardless how vile each of these labels might be, they each fit in the Transylvania community at the heart of writer-director Christian Mungiu's latest film. Of course, as with most derogatory labels, the accused would never admit the shoe fits, and paraphrasing Shakespeare, would likely protest too much. Mungiu's brilliant 2007 Palme d'Or winner 4 MONTHS, 3 WEEKS AND 2 DAYS was inexplicably not nominated for a Best Foreign Language Oscar, and he proves again his unique mastery of the medium.

Our introduction to Matthias (Marin Grigore) occurs as he violently head butts his rude supervisor after being disrespected. Matthisas then returns to his home community where he encounters Ana (Macrina Barladeanu), the mother of his young son. Rudi (Mark Edward Blenyesi) is 8 years old, and he has recently witnessed something in the forest that has frightened him into silence. Ana does what she can to comfort him, while Matthias pushes him to 'man up' and face his fears. Matthias also re-connects with his former lover, Csilla (Judith State), who is the manager of the local bakery in town.

Csilla is working diligently to hire more employees at the bakery in order to qualify for grant money. The problem is that no locals want to work for minimum wage. Instead, many locals head to Germany and other areas for higher paying jobs, and the conflict arises when Csilla hires a couple of men from Sri Lanka. It's at this point where this mishmash of citizens begins their racist rants ... this despite being a mixed community where many friends and family member have headed out to find jobs in other areas. "Not in my backyard" is a phrase used so often in communities fighting against some cause, and that's exactly what's happened here.

Mungiu's excellent film peaks with a 15 minute (or more) single take scene - a town hall meeting where a couple of dozen citizens speak out showing their small-mindedness. It's painful to watch, yet also mesmerizing. Csilla and Matthias are front and center for the scene and both are superb, especially Csilla's facial reactions and Matthias' cowering (this after flaunting his powerful masculinity for so much of the film). By the time this scene concludes, this viewer was mentally exhausted while also being in awe. It's this reaction which makes that final scene so confounding and seemingly out of place. Mungiu taps into the human behavior that we so often question these days, and he does so in a way that never preaches or judges. It's truly exceptional filmmaking ... except that final scene.

Opens April 28, 2023.

The director as usual deals with gray areas of morality. No one is all good or bad. All characters - with all their qualities and vices - are simply put, human.

He is able to treat topics such as immigration, racism, east-west, identity politics, etc. Without falling into the trap of being judgmental or prescriptive. No slogans here. All issues depicted naturally through the normal flow of normal people's lives...

The single take in the town hall - which goes on for minutes - must be a milestone in film history! I cannot imagine how many takes he must have had to create this virtually impossible scene. In a single take, so many characters engaging in the liveliest dialogue for minutes...it was breathtaking.

R. M. N. Was 2 hours of a visual and dramatic feast. I cannot wait to see what this great director will produce for us next.

I don't know this director from Roumania, some kind of a Roumanian Ken Loach, but I guess he is one of the best on the market. I will try to check what he did besides this one. It is not a light hearted story, it speaks of something very serious, dark, realistic, gritty. A tale about racism, intolerance, human behaviour, towards strangers, especially if they are foreigners come to work. I am sure it is like this in many countries, many places. This is not an easy topic to speak about. It is very well told, shown. It may be disturbing because too close to reality, to actual events and tragedies which we don't necessarily hear of.

This is not a film for those of us who watch movies casually. If you pay close attention to the gloriously intricate details of this film, the ending will leave you speechless and full of ruminations for days (maybe even weeks) to come.

The characters in this film are not cartoonish one-note ideas -- they're complex full human beings. We have a brilliant anti-hero as our lead, a morally-confused "working woman" type as our second lead, and a village whole as our third lead. Think this sounds boring? Give the film a chance and let it seep in. It's firing on all cylinders - beautiful, moody, dark, socially-relevant without being preachy or preening.

Mungiu is a master and has yet to make a bad movie.