‘Kontinental ’25’ Review: Romanian Auteur Radu Jude Delivers Another Caustic Modern Morality Tale

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In the last year, the exceptionally productive Romanian filmmaker Radu Jude has taken on the roles of director for two fictional films, collaborated as co-director on a full-length documentary, and unveiled an experimental hour-long film created entirely from webcam footage captured at Andy Warhol’s grave.

Unlike the acclaimed filmmaker Cristian Mungiu, known for his meticulously crafted films released every few years, Jude prefers a more rapid production style, as if his ideas are pouring out at an uncontainable pace. His recent works — “Do Not Expect Too Much From the End of the World” and “Bad Luck Banging or Loony Porn” — were both timely satires that seemed spontaneous and strikingly modern, giving the impression they were captured in real time.

The same sentiment applies to his current morality story, Kontinental ’25, which carries a broader perspective while touching upon sensitive subjects like the persistent conflicts in Gaza and Ukraine, along with Hungary’s controversial leader Viktor Orbán. Packed with in-depth dialogues that center around themes such as guilt, politics, racism, religion, and social justice, it’s not for those seeking a thrilling plotline. Jude expresses much through this movie – it seems suitable for a stage play given its reliance on lengthy discussions. However, true to form, the director manages to deliver his messages in an engaging manner.

As a captivated spectator, I found myself drawn into a compelling narrative where the storyline is remarkably straightforward yet profoundly moving. In this tale, a bailiff named Orsolya (Eszter Tompa) encounters a homeless man named Ion (Gabriel Spahiu, famously known for his role in the Romanian New Wave classic The Death of Mr. Lazarescu) residing in the basement of a building scheduled for demolition. Upon attempting to evict him, Ion takes his own life, leaving Orsolya deeply shaken and grappling with the guilt that ensued from this tragic event.

In essence, the narrative primarily revolves around the events described, while the remainder of the film showcases Orsolya’s journey through various interactions with friends and relatives, discussing her experiences and working through her emotions. The movie employs a thought-provoking, Brechtian style – often referencing Brecht in dialogue – that invites viewers to ponder the implications of Ion’s death within a contemporary society grappling with issues like excessive capitalism, racial intolerance, and religious extremism.

I, as a fan, can relate to Orsolya’s predicament. It turns out the building she was trying to evict Ion from was sold to a German investment group, planning to transform it into a boutique hotel. In a heartfelt conversation with her sharp-tongued mom, Annamária Biluska, we discover their roots as Hungarian immigrants in Transylvania, a region with mixed feelings towards Hungarians (portrayed beautifully in Cristi Puiu’s 2022 film, R.M.N.)). During a tipsy late-night chat with an ex-law student, Adonis Tanta, now working as an Uber Eats delivery man, he reveals himself to be a Zen Buddhist. However, his delivery bag flashes “I Am Romanian” in LED lights, ensuring that bigoted drivers don’t mistake him for an immigrant and potentially harm him on the road.

As a captivated viewer, I’m enthralled by the paradoxes woven into the fabric of “Kontinental ’25,” a film that bears the name of the street where Ion tragically took his life. From the opening lines, Orsolya confesses, “Legally, I’m not to blame, but I don’t feel right.” The narrative unfolds as Orsolya grapples with her emotions, sharing her struggles with her husband before their journey to Greece with the children; an old friend (Oana Mardare) who spins a tale reminiscent of a parable about a homeless man establishing his home outside her apartment; or an Orthodox priest (Serban Pavlu) who seems to deepen her turmoil rather than offering solace, as he delves into the enigmas of God.

The director delivers a lengthy lecture, and the fact that our go-to cinematographer Marius Panduru films each scene from a stationary camera angle without edits or changes can sometimes make the conversations drag on. Occasionally, some close-ups add excitement to the scenes, such as one startling clip displaying a Russian soldier detonating himself with a grenade. Jude incorporates current events and other relevant details into the narrative to ground it in the chaotic present, but Orsolya’s feelings of guilt could be timeless.

The event called Kontiental ’25 is quite talkative, but it starts and ends with two silent documentary-like sequences. In the beginning, we watch Ion wandering about Cluj to gather empty bottles and cans, using the money to buy vodka. Though he was once a celebrated athlete, an injury led him to alcoholism and homelessness, making him far from an ideal citizen. The ending sequence consists of a succession of shots showcasing construction sites throughout the city, subtly suggesting that there’s ample housing, but not for everyone. As Orsolya prepares to resume her life and work, Ion will not, and Jude emphasizes this disparity by demonstrating how their lives are dictated by forces beyond their reach.

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2025-02-20 00:55