Radu Muntean

Born on the 8th of June 1971 in Bucharest, Radu Muntean studied cinema at the Academy of Dramatic and Cinematic Arts in the capital. He made several short films, amongst which The Tragic Story of the Two and La vie est ailleurs (1996) were quickly awarded prizes in international festivals. He also worked on more than 200 filmed advertisements. Then in 2002, he launched himself into his first feature film: Joint.

In the context of the beginning of the new millennium, Joint (2002) was one of the first films to herald what would be later be named “the Romanian new wave”, alongside productions such as Stuff and Dough (Cristi Piuiu, 2001) and West (Cristian Mungiu, 2002). The action of Joint took place in a typical Bucharest suburb, inhabited by characters which personified certain psychological traits unique to contemporary Romanian society. Finely polished scenes from the film (notably the final scene, remarkable in itself), were proof that the director was a real new hope. With this first feature, Muntean revealed a real talent for directing a cast (a skill not often noticeable amongst his compatriots). Moreover, he already knew how to surround himself with good actors. Dragoş Bucur, for example, excelled in his role. Bacur had already played a similar character in Stuff and Dough; a young guy from the neighbourhood. This kind of role fits him like a glove, and it’s to the credit of the director that he had such an excellent sense of intuition. It was likewise when Muntean thought of Adrian Copilu’ Minune to play his own role.

Joint is a well-measured film, the succession of events leading up to an increasing fury (Furia was the Romanian title of the film) and the outburst at the end, marked by the death of the protagonist, who has managed to bring the anger of the young guy from the neighbourhood upon himself. Certainly, this adolescent is no role model, but he has much dignity. Muntean has the intelligence to avoid falling into Manichaeism (or kitsch). The character is never held up as a model; his good and bad sides are both revealed.

Condemning him outright, ignoring the context in which he became what he is, would be just as biased as transforming him into a victim of his background. Like any person from any social milieu, the youngster in Joint is capable of taking responsibility for choosing between right and wrong.

With The Paper Will be Blue (2006), Muntean undertook a complete change of tone and subject, delving into the Revolution of 1989. The film X-rays a particular episode of these tragic and troubled days – the gunning down of several soldiers by their comrades from another military unit. The film is circular – beginning with the end and ending with the beginning scene. The main action unravels during the night of the 22nd – 23rd December, and reaches it’s conclusion with the tragic event of the following morning.

Here, the director’s style is brusque; the approach distant, the tone almost cold and unfeeling. The Paper Will be Blue is sparse, clean, and lacking unnecessary digressions. Everything rests on the story and the actors’ performances: Paul Ipate, Dragos Bucur, Tudor Aron Istodor, Andi Vasluianu, Adi Carauleanu… All are excellent.

Muntean has a predilection for clear scripts and coherent stories. His direct approach gives strength to his films but, as is the case in Joint, the natural performances of the actors are essential. This is actually one of the common characteristics of the new generation of Romanian cineastes: no more artificial dialogue, and above all, no more distorted interpretations of these dialogues from the actors. Muntean the chameleon? A new film, a new style and a new theme. For this third opus, Boogie, selected in the Quinzaine, Dragoş Bucur is again on board, in the role of Bogdan Ciocăzanu, nicknamed Boogie, on holiday at the seaside with his wife, child and old friends. The child is none other than the little Vlad Muntean, appearing onscreen for the first time. Is the changing of the guard of new Romanian cinema already assured?

Laurentiu Bratan