Libertate

"Freedom" or "Libertate" (2023), directed by Tudor Giurgiu and co-written by Cecilia Stefanescu, Tudor Giurgiu, and Nap Toader, stands out as a remarkable addition to the limited corpus of Romanian cinema that explores the events of December 1989 in Romania. At the age of 29, I experienced these historical moments firsthand while residing in neighboring Yugoslavia, where the "revolution" was broadcast continuously for 24 hours. Consequently, this film was essential for me to view.

The film successfully balanced various elements, including violence, humor, community, and political themes. The events of the 1989 revolution still remain shrouded in mystery, yet Tudor Giurgiu excelled in presenting most of the facts in a tangible manner. The casting was exemplary, and each line delivered was fluid, credible, and appropriate for the historical context. This film effectively transports the audience along the continuum of time and space, but more significantly, it delves into the psyches of the protagonists, raising profound questions about the significance of moral ethics and the ability to maintain one's integrity in a dystopian world rife with corruption.

It is my sincere hope that this film receives the acclaim it rightfully merits, as it stands as a true masterpiece.

I encourage people to watch this movie...however much watching it infuriated me. It is a compelling and, as previous posters (apparently mostly Romanian) have written, it is indeed an "immersive experience," and deserves to be viewed and applauded from an artistic standpoint. But it is unfortunately a deeply regrettable travesty from the point of someone who has spent decades investigating the events of the Romanian Revolution of December 1989. My first, of several, hopefully, episodic, entries, is to demonstrate that despite what Tudor Giurgiu, the director, has said in his many interviews, and what one reviewer, Eugen Istodor, has said... "Vocea securistilor nu s-a auzit 30 si ceva de ani si filmul le da cuvantul." (Hotnews.ro 7 October 2023)..."The voice of the Securitate (communist era secret police) has not been heard for 30 plus years and this film gives them the floor."...there is nothing new in this story...in fact, it has been expressed repeatedly and has long since achieved a hegemony in the Romanian media and everyday life. (Tudor Giurgiu has spoken in public at these showings, I was there for one, about the "fake narratives (about the Army) that have dominated for 30 plus years...and about the supposedly dominant narrative of "the Glorious Army"...but let us test his claims here)...below, for English speakers, two famous public discussions of the Sibiu December 1989 events...from 1990 and 1997, therefore for 33 years and 26 years respectively...to be continued...

POET, ESSAYIST, AND NPR COMMENTATOR ANDREI CODRESCU in Sibiu in July 1990, seven months after the Romanian Revolution of December 1989

As my friends spoke, a strange feeling engulfed me. Most of what they said sounded true, but there seemed to be something missing, one element of the plot that no one cared to mention. Here, in the middle of this sumptuous feast, I experienced the eeriness of another (hardly new) revelation: They were all blaming the army for the shootings; none of them blamed the Securitate. And yet the official government line was that the Securitate-not the army-massacred all those people who were undeniably massacred in Bucharest, Sibiu, and elsewhere. Could my friends also have been ... ? I felt like drawing two fingers across my shoulder (a sign he had earlier related was used to communicate that someone had Securitate ties), but I had no one to do it for. In any case, the point they were making, and which was being corroborated everywhere these days, is that many shots had been fired, but few in defense of Ceausescu, He had been betrayed by everyone. Even his son, who'd been in charge at Sibiu, hadn't ordered anybody to fire at demonstrators. Ironically, the People's Army started shooting at the crowds at the same time that the army was officially coming over to "the side of the people." However, the shooting was intended to create more panic than corpses. Romania's TV revolution had only one side ...Everyone had been on it.

--"Big Chills: My High School Reunion in Romania," HARPER'S MAGAZINE, NOVEMBER 1990

and

Back in 1997, the American novelist and Pulitzer Prize Winner William McPherson wrote of what Valentin Ceausescu, communist dictator Nicolae Ceausescu's eldest son, told him about the events of the Romanian Revolution of December 1989. Here are some excerpts:

Valentin and I were having coffee in the Vox Maris, the same grand casino where the funeral feast was held. It was morning, two days after the funeral (of Nicu Ceausescu), and the crowds had not yet arrived.

--"Nicu was never groomed to be the successor. That was (only) the rumor." He paused for a moment. "But rumors even become the reality."

--"Yes. Especially in Romania."

--"Maybe others in the party thought it would be a good idea. He could command a lot of sympathy. He always wanted to look tough and act strong, but he wasn't. He was more like a child than anything else."

--"What about the 90 people killed in Sibiu?"

--"He did not order the shooting. I know when he's trying to lie, and he wasn't lying. I knew immediately. That's why I defended him so strongly."

--He paused and lit another Pall Mall. "Have you noticed? All the heroes in Sibiu now are the militia and the Securitate - all the dead people, and now they are the heroes of the revolution."

--"So the villains are now the heroes?"

--"Yes."

--And the heroes are now the villains.

The official toll of the dead, revised frequently with a final version released three years after the events, is 1,104; only 160 were killed before the dictator fled.

Curious - if the figures are accurate - that the majority of them were killed in Sibiu. "A lot of effort," Valentin once said, "to kill these two old people."

William McPherson, "A Balkan Comedy," The Wilson Quarterly, Volume 21, Issue 3 (Summer 1997)

Thank you, dear readers and watchers. --Domnul R.

I have just had the privilege of seeing this tonight, at a pre-screening before the actual launch and I can say I was very happy and relieved to see these stories told so well and yet also not be a documentary, in spite of the mountains of research and effort that went into recreating some of the aspects depicted. Probably the best and most mature non-meta Romanian film.

Please go out and support it by seeing it in cinemas, starting October 6th - it's well worth it and it deserves to be seen if you're even remotely interested in Romanian films, history inspired stories - or, indeed, great movies in general!

The movie had the right amount of everything, be it violence, humour, community, or politics. The revolution of '89 has many secrets still, but the director and scenographer Tudor Giurgiu did a tremendous job in order to keep the facts palpable. The casting was perfect and every line was fluid, believable, accurate for the time in question. The metaphors used make it not only an action movie, but a psychological one, shaping every character, with flaws and faults. And still, at the end of it you pity and cry along them and start questioning yourself if you would have done things differently. I can only hope it receives the recognition it deserves, because it is a masterpiece.

(I saw it at a pre-screening. The premier is on the 6th of October)

This movie is a technically well-done utter failure.

It exudes the hallmark of bad acting: actors shouting out their lines all the time. It presents the hallmark of a bad scenario: no conclusion, no catharsis.

I was there during that revolution. Everyone was trying to find out what would be next in for our destiny, if we'll end in the EU or the Russians will take over. People were trying to find out if their friends are alive, if they'll still have a job next day. Then came the summary process of the dictator on a Christmas Day (to be later followed by the Miner's revolts etc.). Nothing of this was a topic of the movie. A slapstic, one with a historically accurate scenography.

The marketing machine behind and the official endorsement made for a sold-out theatre. This is yet not on the same level with the new Romanian cinema which made a dent in the European cinema in previous years (4-3-2, Beyond the Hills, Aferim etc.). Not even on the same level with well-executed modern Romanian thrillers like Boss (2023).