4 Months, 3 Weeks and 2 Days

I'm in awe with 'realist' films, especially the one that actually works such as this one. In the climax track shot of walking through the city at night, how do they stage all the noise, the dog, the cars, the everything? It's crazy that i'm super impressed by how organic and realistic it is. Which is odd, because usually i go to movies to see how clever a filmmaker can be with twisting reality. But this was clearly magic to have been able to present a simple act (walking) in a simple composition (face dead center), with all of the familiar elements of nighttime in the city, and brought it all together to heighten the experience of this girl carrying what it seems like, all the worry in the world. It brought me back an almost childish/immediate feeling of being afraid walking alone at night, but of course compared to film, i've never walked alone at night with that much at stake.

But this is where the movie is most successful, the film presents you with people living in a type of harsh system that i can't imagine here living in the states. But the feelings and emotions that are portrayed are universal, the feeling of being young and afraid, feeling of sneaking behind the law, risking something for your friend , feeling of regret. And in this film the moral compass is clear, they know the system is unjust and they do things out of love and care for one another.

But for us here in the states, where government and law has seeped itself into everything, where we don't sometimes realized our own systematic oppression, how much of our sense of right/wrong is driven by government and the law? how much of it is actually driven by love and passion for real people?

Romania, 1987. Two years before the fall of the Ceauşescu regime, a student helps her friend to obtain an illegal abortion. "4 luni, 3 Saptamani Si 2 Zile" details the events of a single day in which both girls will face circumstances of growing despair and horror. A question is asked and answered: What would you do for a friend?

I don't think I can praise "4 luni, 3 Saptamani Si 2 Zile" highly enough. I thought that "4 luni, 3 Saptamani Si 2 Zile" was a great film, perfectly executed.

There are some particular words I would use to describe this film. Compelling, downbeat, tense, shocking, harrowing and graphic. The country of Romania itself is a character in this movie. A cold and unfriendly place. Practically everything appearing to be worn down, old and shabby. The people are tired, irritated and impatient. I think it is a snapshot of a kind of hell on Earth.

There are stunning performances by Anamaria Marinca (some people might remember how good she was a couple of years ago in "Sex Traffic" on Channel 4) and Laura Vasiliu as the two girls. (Check out the scene of Anamaria Marinca at a family birthday party. A masterclass of internalised acting and suppressed emotion. She is doing practically nothing, but her mind is elsewhere. You can see it in her eyes.) Also, a couple of words of praise for Vlad Ivanov as Mr. Bebe, the abortionist. His performance as Mr. Bebe is a calculated study of bland and indifferent evil. Quietly spoken, balding, middle aged in his comfortable jumper and comfortable shoes. Manipulative, advantage taking, awful and chilling. Really chilling.

However you line up on the subject of abortion, pro-choice or pro-life, you should see this film. One of the best of the year.

What would you do for a friend?

The story is a very simple one. It's 1987 in Romania and abortion is illegal. Pregnant student Gabita and her roommate Otilia check into a cheap hotel where a backstreet abortionist called Bebe is going to deal with Gabita's problem. Under Romanian law, the degree of illegality depends on how long Gabita has been pregnant: on this subject, as on most others, she is worryingly vague. Very cleverly, the writer makes Otilia, the more resourceful of the girls, the protagonist. Otilia needs all her courage to deal with the suspicious hotel staff, to meet Bebe's demands, to evade the police and jail. The obvious words to use are spare, direct, realistic. The suspense generated is astonishing. The question of whether abortion is right or wrong is irrelevant to the psychology of the film - all that matters is that it is dangerous. I have great sympathy for all those Romanians who have written comments on this site, complaining about the portrayal of their beloved country. However, I believe that this film reflects well on Romania today. It's certainly a much more sophisticated and honest film than Vera Drake, which was hideously sentimental.

Winner of last years Palme d'Or this Romanian film set in the eighties and is a cross between Richard Linklater's 2001 film 'Tape', in that the majority of the action takes place in one room between three central characters and Mike Leigh's 2004 film 'Vera Drake' in that its central theme is illegal abortion. It is a film about the human condition, trust, betrayal, the extremes people have to go to sometimes and the consequences that follow certain actions. It has two great performances from the college roommates Otilia and Gabita from their introduction to us as they make plans for a trip through to the grizzly outcome that concludes the film. The setting is grim and the bleached out film stock adds to the jittery camera work and gives an uneasy feeling throughout, instantly you are transported to a time where people barter with tic tacs, cigarettes and powdered milk and the promise of sugar is a dream to many and a reality to only a few. Gabita's predicament and subsequent journey both physically and mentally are what drives the film but its shown mainly through the eyes of her friend and roommate Otilia who as well as making and carrying out the arrangements has to make some startling sacrifices and ones that she will have memory of forever, as will you the audience long after the film has finished. Although not an easy watch and considering the subject matter not something you can say you 'enjoyed' it is none the less a brilliant piece of film-making, subtle and emotive with very real character studies. A brutal in your face look at a bleak time in history, how a leader destroyed the economy of a country and what that did to everyday life and a reminder of how far behind the rest of us Eastern Europe was before the fall of the Iron curtain and particularly Romania before the Revolution of 1989.

Chritian Mungiu delivers one of the finer suspense films in the past few years. Set in Ceausescu's grim murderous police state, I was reminded of Polanski's shocker "Repulsion" albeit without the Gothic thrills. It's a loaded subject matter of abortion that sets the scene, but we aren't asked to take sides in someones polemic. The nightmare that unfolds is probably played out often, and that's the movie's genius. We identify quickly with the dilemma even though the bureaucratic maze the characters have to bribe and finagle there way through is in extreme.

The smallest details are accurate and riveting, from the possibly dire consequences of not paying a bus fare to eavesdropping on a conversation between a mother and her son that's suddenly interrupted by the sound of gun shot, the protagonist here (and what a courageous beauty she turns out to be) has nerves of steel that any action hero would envy.

It's our loss that this may be the only time we get to see Anamarie Marinca perform. She's nearly in every shot in the film and her unsteady conviction to her friend who is seeking an abortion is mesmerizing to watch. Her foil, Laura Vasiliu, is maddeningly dense and just as effective as the girl who's so lost in her dilemma that you can't tell if her judgment is impaired by her predicament or she's simple-minded. It's a touching performance that's also infuriating because of the dangers she sets in motion all around her.

The mise en scene here is one of a master. Midway through the film, there's a stunning set piece where Marinca and her boyfriend are full screen at a party, the camera never moves and they don't speak a word while adults chatter all around them while only occasionally hands enter the frame. The tension that results is almost unbearable when a telephone rings off in the distance, and Marinca is unable to move to find out if it's a desperate call for help...or simply someone calling to wish Happy Birthday.

There are many, many such fine moments in this movie. It shows that horror isn't necessarily the boogie man or a creature from outer space. It can be of our own making, both individually and by the government that rules us.