Yeah Carmen, remember when the festival you work for cracked down on its own invited guests and its staff for saying the very same thing and then you sent some pretty terrible and rude DMs to the people who joined a boycott against said festival? "One Day Everyone Will Have Always Been Against This"

didn't get to post this in the heat of the moment – but here's Todd Haynes speaking about the influence of Douglas Sirk and R.W. Fassbinder at his Carrosse s'Or masterclass, definitely one of the highlights of this year's edition of the Quinzaine / Cannes at large (to me at least):

I'm dating Wario..........

mfw when someone says Moirée is more highbrow than Cahiers

Got around to seeing the Tiger Award winner of the year, FIUME O MORTE! What a deeply fun and imaginative film – and probably the best performative reenactment doc I've seen in recent years (and is becoming an increasingly visible genre). Has all the playfulness of a Varda film (big words, I know!).

No Other Oscar worth discussing. Truly a historic achievement, in every imaginable sense. Bonne chance, Basel & Yuval – may this award encourage you to keep on going.

my first book, ulaanbaatar, was nominated for best debut at one of the major Romanian literary awards, organised by Observatorul Cultural. the fact that a book that almost ended up as a handful of forgotten files on my laptop is up for this award is just overwhelming. my deepest thanks to the jury.

hey Bucharest! we're screening THE NOVELIST'S FILM, Hong Sang-Soo's gorgeous homage to artistic reinvention and hopeful portrait of the late pandemic, this Sunday at 17 at Cinema Union. come on up if you're around, it's a rare chance for Romanian audiences!

tickets: eventbook.ro/film/bilete-...

Vlad Petri – a Berlinale 2023 director, with Between Revolutions – puts it quite eloquently (and bravely) over on his Instagram account.

new post on substack! the first in a series of monthly updates regarding my work(s and days). english version in the second half. enjoy!

open.substack.com/pub/decupaje...

I've taken the leap and joined Substack– can't keep myself away from criticism. & now that I'm freelance, I finally can explore whichever topics I want. Monthly texts in English, free access for all. Any $ from paid subscriptions go towards rent, food, bills and medical needs.
decupaje.substack.com

beyond happy after today's screening of LA REGION CENTRALE – probably the first ever public showing of the film in Romania, and a very nostalgic chance to return to the cineclub that made me into the person I am today. thank you so much for having me, Film Menu 💗

And they're quite different from each-other in terms of form (I found that the most contained one was The Debutante, from 1981 – a psychodrama that heavily draws upon French cinema to explore the abuses of power faced by women working in intellectual fields). Amazing posters, ofc.

had the occasion to catch up with the first films of Barbara Sass over the weekend, at F-Sides Cineclub. Quite a revelation - especially due to the firebrand performances of Dorota Stalinska (incredible range), and the shocking amount of subversive critique, given that they were shot in 80s Poland!

I tried

And, of course, to help me process (as fiction) the surreal, violent tone of the film that she'd caught me seeing. afterwards, the idea of a story happening inside an ear obsessed me. maybe it was this playful gesture of hers & Lynch's that, in time, made me want to grasp at the meaning of cinema.

my first lynch film was blue velvet on TV at 8. one of those moments when an unsupervised kid stumbles onto an object that opens them to something they didn't even know could exist. my mom lied to me that the plot of the film is set inside the ear in the grass so I could cope with what I saw.

I'm not exactly sure what this says about me, but the fact is that there's a six-hour-long marathon of Elvis movies at the Romanian cinematheque tomorrow and I don't remember the last time a cinema bill got me this hyped up

hi 🫶 anyone from filmtwitter around?