MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

The Death of Mr. Puiu and the rigidity of a communist system

thedeathofmrlazaresc572398.jpgBetween screenings, I’m trying to carve out the time to close the books on a few more euphoric moments from Sundance, but then I find probably the most depressing story I’ve seen so far this year, from Bilge Ebiri at ScreenGrab: a gifted filmmaker who might just have quit: Ebiri reports on a press release that “Cristi Puiu, winner of the 2005 Prize Un Certain Regard at the Cannes Film Festival and the Golden Bear for Short Film at the 2004 Berlinale, announced at a recent press conference in Romania, his decision to no longer participate in the contests held by The Romanian National Centre for Cinematography. The announcement follows the denial of development funds for two of his projects, which were submitted to the latest contest organized by the Centre for Cinematography… Puiu [also] stated that he will not make use of the funding granted to another one of his projects during a previous contest…” Illuminates Ebiri, “[T]he idea of a smallish Romanian film director choosing to forgo state support for his films may not seem like a big deal, but… Puiu is the director of The Death of Mr. Lazarescu the much-acclaimed masterpiece that made its way to the top spots in… critical surveys in 2006… In countries like Romania, state funding through organizations like the Center for Cinematography is absolutely crucial for film production to survive…This is Puiu basically saying he will not accept this funding, even if it means he never gets to make another film, which it very well might. The release goes on to say that “the hard line decision is a protest against what Puiu sees as the ‘rigidity of a communist system’ still present within the Centre for Cinematography and the way the organization spends public money on productions with no value.” Fuck. You can find a remarkable earlier interview with Puiu at the link.

Comments are closed.

Movie City Indie

Quote Unquotesee all »

“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant