The deceptive nature of the films is highlighted by Porumboiu's Cannes racing film

The deceptive nature of the films is highlighted by Porumboiu's Cannes racing film

Cornelius Porumboiu (Law Enforcement, Linguistics, The Treasure), a new film from Renaissance artistic film known as the Romanian Wave, made its debut in the competition program at the 72nd Cannes Festival. We watched the Hungarian premiere of the 18th Transilvania International Film Festival in Cluj-Napoca with the director, the crew and the cast. This time Porumboiu made an audience movie, which is a poison to himself: the director tells us that we only watch one movie and that the movies are often cheats. Gomera will also enter the Hungarian cinema distribution market.

The original title, La Gomera & nbsp; an island in the Canary Islands, the English title, The Whistlers, refers to the protagonist, Cristi (Vlad Ivanov), learning an ancient whitetail on this island. Cristi is a corrupt detective assigned by the drug mafia to rob a certain Zsolt out of prison in Bucharest, who laundered money for the thugs, but eventually stole a fortune from them and hid the money. Cristina has to learn to whistle to communicate with other thugs because police already suspect the detective is working for the mafia, so she is monitored and even text messages from touch phones leave too much trace. & Nbsp;

The Gomera whistle really does exist, and as Vlad Ivanov introduced after the screening, the protagonists really learned something else from it. & Nbsp; Porumboiu said from the beginning of the project he was interested in this language, and used it as a crime, thriller, and comedy. and a story that can be categorized as a woman. What moves many prominent characters is full of mystery and twists. The characters' motivations are only revealed over time, but they can surprise not only the viewer, but also each other. All in all, we see a novel, exciting and entertaining story, which in turn is made remarkable by its self-ironic humor.

Porumboiu has always made self-reflective films: When he went to Bucharest for the night, or Metabolism, the director-alter-character says that when the film was turned to celluloid, it couldn't be longer than 11 minutes because so many films could fit on a roll. Thus, the material of the medium influenced cinema as a form of mapping, thinking about, and communicating the world. Like GomerĂ¡, in A Treasure, a film about treasure, Porumboiu pointed out that other sensors give a different picture of reality, that is, when translated into the language of cinematography, the limits of form distort the content more than we think.

Gomera is full of winks, self-reflective, ironic gags: characters often watch movies on TV or in cinema like their own story, finale fireballs take place in a scenic city, and a mobsters deliberately sneak in to find a new movie , Porumboiu evokes a Psycho scene in a shower scene, and his characters sometimes pose for the camera: Gilda (Catrinel Marlon) specifically presents a femme fatale to network, but because of the hidden cameras in her apartment, plays a role in pretending to be a luxury prostitute and actually lies down with the man to prevent the police from appearing.

Porumboiu sheds light on the limitations of the film art industry: that film as a representation of reality creates a kind of alternative reality that is influenced by prosaic circumstances such as the invention of audio, color, 3D, digital cameras, and carry on. The Romanian director almost does the work of film critics, because in theory, it would be up to the judges to shed light on why films are like them and to point them out when they are out of touch with reality. While artists have traditionally been critical of society (or even of reality, nature), Porumboiu does not ignore the films, their creators, and the audience, that is, the viewers.

Even if the best feature films are not, audiences nowadays are usually made for the sake of completeness: in America, there is a whole industry of scriptwriting, drama drama, whose authors have experimented with the structure of stories that the general public will love. The audience movie product that can best be sold with slogans that the consumer usually likes to hear, be it some kind of optimistic, reassuring message, or even just mockery. Overall, Gomera does not say much about reality, but points out its difficulties.