CARMEN (2013) – drama film online

Directed by:Doru Nițescu
Script by: Tudor Voican, Doru Niţescu, based on an idea by Cătălin Cocriş
Cast: Rodica Lazăr, Adrian Titieni, Maia Morgenstern, Mimi Brănescu, Doru Ana, Iulia Lupașcu, Amalia Ciolan, Laure Creț, Victoria Dicu, Leonid Doni, Constantin Drăgănescu, Alexandru Gheorghiu, Monica Ghiuță, Carmen Lopazan, Maria Obretin, Cătălin Stelian, Maria Teslaru, Nicodim Ungureanu
Producer: Titi Popescu
Cinematography by: Silviu Stavilă
Edited by: Dana Bunescu
Sound: Mihai Bogoș
Music: Cristian Lolea
Year: 2013
Category: Feature film
Genre: Drama
Duration: 88 minutes

32,464 – Cinepub viewers

PLOT SUMMARY

Mariana (Rodica Lazăr) is a desperate mother fighting for her sick daughter Carmen (Iulia Lupașcu). The only person who encourages her is Dr. Sitaru (Adrian Titieni), who proposes a risky operation. Although the hospital management (Maia Morgenstern) does not approve the procedure, it takes place in the middle of the night.

AWARDS

• 2015 – UCIN – Alexandru Tatos First Film Award
• 2015 – UCIN – Best Original Music Award (Cristian Lolea)
• 2015 – UCIN – Best Editing Award (Dana Bunescu)
• 2015 – UCIN – Best Actress in a Leading Role Award (Rodica Lazăr)

FESTIVALS

• 2013 – Sarajevo Film Festival
• 2014 – Gothenburg International Film Festival
• 2014 – Beijing International Film Festival
• 2016 – Romanian Culture Festival, Krakow

CRITICAL REVIEWS:

“Carmen” is a valuable, unforgettable debut, and after the film’s selections and awards, I expected its director to quickly return to the theaters. However, Doru Nițescu chose to devote himself to teaching, supporting several generations of aspiring filmmakers at UNATC Bucharest. I hope, however, that he will find a new project to bring to the screen.” – Mihai Fulger, cinepub.ro

“The temptation to compare Doru Niţescu’s film with The Death of Mr. Lăzărescu (d. Cristi Puiu) is great, and not at all to the detriment of the former. Both follow the inexorable path of human beings towards death. The action in both takes place mainly in a hospital. Both also address the issue of the patient-doctor relationship and medical ethics. And that’s about it. The essential difference is that while Cristi Puiu’s film focuses on the hospital environment, on the constant hustle and bustle in the corridors, on the crowding in the offices, with Lăzărescu becoming almost an object passed from one hand to another, Carmen is a film about a state of mind, the despair of a mother who feels her child’s life slipping through her fingers. Lăzărescu is surrounded by commotion and noise, while in “Carmen” silence and loneliness reign.” – Cristina Corciovescu, aarc.ro

“The fragile silhouette of this strong woman remains haunting, as she sheds no tears, lost in the white geometry of an empty space that seems to prolong her inner devastation. The final sequence remains shocking: a Mater Dolorosa over whom the darkness of the film’s last frame falls.” – Cristina Corciovescu, aarc.ro

“Among so many dramatic sequences, the director also introduces two lyrical moments, one in the pre-credits sequence, in the family’s courtyard, and the other in Carmen’s hospital room, when she finally comes to terms with the inevitable; in both cases, fascinating pre-cinema shows with silhouettes, lights, and shadows begin in those spaces. The final sequence is also anthological, and can be seen as a five-minute summary of “The Death of Mr. Lăzărescu”: in parallel with the death of one character, the lives of the others continue undisturbed — young people party, traffic police do their duty, and a passenger train heads toward who knows where. As in a new “Pietà”, we are left with the image of a mother who, her face frozen in grief, holds her child in her arms.” – Mihai Fulger, cinepub.ro

TRIVIA:

• The film marks the directorial debut of university professor Doru Nițescu.
• A 2000 graduate of the Film Directing Department of the National University of Theatre and Cinematography in Bucharest (UNATC), Doru Niţescu obtained his doctorate in 2008 with a thesis on Federico Fellini. He teaches film directing at UNATC, where he has held the positions of scientific secretary, vice-rector for international relations, and vice-dean of the Film Faculty. Since 2000, he has worked as an assistant director, second director, or principal director on numerous Romanian productions (short films, documentaries, and feature films, including Niky Ardelean, Colonel in Reserve, directed by Lucian Pintilie). His short films have won several awards at national and international film festivals.
• The world premiere took place in the official competition of the Sarajevo International Film Festival, and the national premiere at Cinema Studio in Bucharest.
• During the first edition of the Romanian Film Festival in China, after the screening of the film at the International Cineplex in Shanghai, the director said: “Perhaps the film does not show landscapes that would make the Chinese audience say, ‘Look at these landscapes, how beautiful the mountains of Romania are, I want to see them!’ But perhaps they will say, ‘Look at the beautiful people Romania has, I want to go and talk to them!'”
• The film has three dedications – “To Carmen, Otto, and Cătălin.” Carmen is the name of the girl whose story is told in the film, Otto was the nickname of Andrei Toncu, a friend of Doru Niţescu and Tudor Voican, the two screenwriters. Cătălin Cocriş, who has also passed away, worked with Tudor Voican on the first draft of the screenplay. The film’s journey was marked by these three real and sad stories. (Dana Medar, aarc.ro).
  “The bet was that if we made a good film, we could dedicate it to Carmen, the real person to whom this tragedy happened; and to Cătălin Cocriș, who brought this team together, and also to Otto, the sound engineer who died in the accident with Cristian Nemescu. So the film was made for them and represents an encounter with death much sooner than it should be in anyone’s life.” (Tudor Voican)

LINES:

• “Go inside, I don’t want you to get sick.” – Mariana (Rodica Lazăr)
• “Are you hot? (…) Do you want an apple or a biscuit? (…) Are you sleepy? (…) Are you okay?” – Mariana (Rodica Lazăr)
• “Do you still want to marry me?” – Dr. Sitaru (Adrian Titieni)
• “I don’t like how Carmen looks. I’m hospitalizing her.” – Dr. Sitaru (Adrian Titieni)
• “I say you shouldn’t give any more money to the doctor because the girl can’t be saved.” – Godfather (Doru Ana)
• “If I don’t do the surgery, the child will die.” – Dr. Sitaru (Adrian Titieni)
• “My child will not die.” – Mariana (Rodica Lazăr)
• “Why won’t the godfather intervene to get my daughter into surgery?” – Mariana (Rodica Lazăr)
• “Havana Club! I haven’t had this since I was twenty.” – Dr. Sitaru (Adrian Titieni)
• “I’m four weeks pregnant.” – Mariana (Rodica Lazăr)
• “Are you experimenting on people’s lives, Sitaru?” – Dr. Janos (Maia Morgenstern)
• “You’re acting like an enemy, not a mother.” – Dr. Janos (Maia Morgenstern)
• “There’s nothing more I can do for her.” – Dr. Sitaru (Adrian Titieni)
• “Let me go home. I want to get her home alive.” – Mariana (Rodica Lazăr)
• “If you have any candles at home, bring them.” – Mariana (Rodica Lazăr)

ARTICLES:

• “Carmen” (2013) – aarc.ro
• Romanian films presented in Krakow at the Romanian Culture Festival – aarc.ro
• Interview of the week with Doru Niţescu, by Iulia Voicu – aarc.ro
• Interview of the week with Rodica Lazăr – aarc.ro
• The loneliness of the supreme moment: “Carmen” – film review, by Cristina Corciovescu – aarc.ro
• Feature film “Carmen”, by Doru Niţescu, in competition at the Beijing International Film Festival – mediafax.ro
• Fellini Centenary: “Genius has disciples, but no successors”. Dialogue with director Doru Niţescu – orizonturiculturale.ro
• Câmpulung-based director Doru Niţescu made his debut with the feature film “Carmen” – jurnaluldearges.ro
• The story of the film “Carmen” has reached Shanghai: Romania has beautiful people – dcnews.ro
• Premieres of the week: “Carmen” – a mother’s lesson in courage – miscareaderezistenta.ro

This premiere is part of a national archive project supported by the Romanian National Film Centre.
Special thanks goes to the Romanian Filmmakers Union and to the Romanian Film Archive.

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