33/49
EnglishDuring the Romanian Revolution of 1989, Sibiu witnesses a violent attack on a police station that escalates into armed clashes between soldiers, police, protesters and secret police. References Rocky (1976). 1. Grand production “Freedom” or “Libertate” (2023), directed by Tudor Giurgiu and produced by Oana Giurgiu, is a rare gem among the few Romanian films that look at the events that took place in Romania in December 1989. The experience is extremely immersive partly due to the fast and well-thought-out camera movements (as if you were one of the characters in the background watching the story unfold) and the incredible sound design and effects (which complement your sense of hearing your presence during these events). This effect is also achieved through the rather close camera to the action and the focus/angles/framing/sound design during dialogues or action-centric scenes. Everything from the set to the side effects paints a complete and deeply immersive experience of the 1989 Revolution as seen from Sibiu, creating a sense of “Hollywood budget” production factor, for which the production team should be commended and which makes this film a must-see for all Romanians, especially those who did not live through these events and would benefit immensely from adding this small reference point to a vocabulary of ideas about their country’s history. As for the dialogues, the lines are beautifully flavorful, capturing the colorful vocabulary of the time and the spirit of the Romanian people through their language in the face of adversity (thanks in large part to the impeccable delivery of the actors and actresses). Sparkling with clichéd, modern and humorous moments here and there, the immersion is not broken and the general theme of the Romanian saying: “Facem haz de necaz” – or “Make fun when you’re in trouble” 2. Lack of message The other side of the coin is what ended up giving the impression of an incomplete artistic vision on the part of the production team. In vague terms, after leaving the cinema, you are left with the confused feeling of not having fully understood the message of the film – as if you were presented with a perfectly executed cake on a random Tuesday at 1pm and wondering on what occasion. As other critics have said, this film is an exceptional x-ray of the events that transpired during this period, but as with any x-ray, it requires a diagnostician who must guide the patient through the end result to a proper and digestible conclusion – perhaps not in the case of modern art, but certainly when it comes to historical films. In the case of ‘Libertate’ the director’s vision has either been overshadowed by the emphasis on production and realism, or diluted in the process, to the point where the viewer does not feel gently drawn toward an overarching message or final moral, as is usually the ultimate goal of storytelling, regardless of the medium. This may be due in part to an intentional neutrality of the director’s vision, or it may be an accidental oversight resulting from the emphasis on the story itself, the research and its delivery. Conclusions can nevertheless be drawn, but they may have been left uncomfortably to the discretion and subjective experiences of the viewer who, in this case, whatever his generation, is seeking less freedom of opinion than answers about what really happened in 1989 and who is responsible for the many deaths that took place.