one floor below
the key to appreciating
one floor below
is to keep in mind that it takes place in a country still troubled by its past .
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much more accomplished is
one floor below, ” radu muntean’s excellent and much - awaited follow - up to
tuesday, after christmas”, the 2010 festival hit that remains one of finest achievements of the so - called new romanian cinema. just like in his previous features (
summer holiday, ”
the paper will be blue” and
tuesday…, ” all co - written by alexandru baciu and razvan radulescu), at the center of
one floor below” is a male character under moral pressure, entangled in a thickening web of self - delusion while striving to preserve some sort of control over his life .
here’s slow burn, and there’s wondering if the thing is even lit. one floor below, the latest from romanian director radu muntean is an exercise in frustration and disorientation. no wonder its protagonist is a professional freelance bureaucrat. though figuring out just what exactly our closed - lipped middle - aged protagonist does all day is just one mystery in this odd and, eventually, very satisfying film .
the moral tug - of - war between reporting a homicide and remaining silent lies at the core of radu muntean’s lean, absorbing anti - thriller “one floor below. ” like a pot set to bubble only every few seconds, the drama is tightly measured to ensure a controlled level of tension that remains discreetly constant, nicely melding with muntean’s skilled construction of three - dimensional bourgeois life. the helmer’s affinity for young, middle - class relationship stories is expanded here, and the confidence he gives his actors, as always, serves him well. while understated, “one floor below” non - judgmentally homes in on a weighty theme and deserves a high place on the fest circuit .
after being the sole unfortunate witness of a domestic quarrel that ends up in a murder, patrascu finds himself at odds with two very close neighbors: one is the bizarre murderer, the other one his very own conscience .
the moral tug - of - war between reporting a homicide and remaining silent lies at the core of radu muntean’s lean, absorbing anti - thriller “one floor below. ” like a pot set to bubble only every few seconds, the drama is tightly measured to ensure a controlled level of tension that remains discreetly constant, nicely melding with muntean’s skilled construction of [ … ]
mauntean attempts to examine hard truths about masculine insecurity, but sandu' s ethical conundrum doesn' t feel like one at all .
muntean and co - scripters alexandru baciu and razvan radulescu are never explicit about what sandu is thinking (this wouldn’t be a romanian film if they were): is he protecting his family? himself? an undercurrent of so much of new romanian cinema has been the need to strip bare how people treat each other as fellow human beings, a theme that “one floor below” subtly examines not via the murder, but through sandu’s lack of a sense of the common good: keep your head down, don’t get involved — a message hardly limited to one balkan nation .
so many of the great recent romanian films like the death of mr lazarescu, beyond the hills, everybody in our family, child’s pose work so well because of black humour, nonstop talking and an unbearable, increasing vice - grip. one floor below is a break from this formula. it really isn’t up until the very end of the film that any of the characters’ feelings are on the screen in a flagrant manner. as such, don’t expect this to be much of a crowdpleaser. luckily patarescu and dima stick with their own inspections until the end .
one day, just as he and jerry arrive back at their building from a walk, patrascu passes an apartment one floor below his own and hears a heated argument kicking off between student laura (voiced by maria popistasu, who also plays laura’s sister later) and her next - door neighbor, vali dama (iulian postelnicu). it’s obvious that the two have been having an affair, and that the married vali is possessive and possibly a bit violent. when vali suddenly bursts through the door and sees patrascu on the stairwell, no more than a curt hello is exchanged between them. however, it’s clear that in that instant vali now knows that patrascu knows about the affair, and this glancing, two - second exchange will have far reaching repercussions for both of them .
a good life, an average life, is severely shaken, and sandu’s quandary — to tell or not to tell — channels directly into his conscience. what works so well in “one floor below” is how muntean sets this dilemma off against the patrascus’ daily existence: they have friends and family, olga helps matei with his math homework, sandu enters jerry in a canine contest. at the registration office the people know and like him; he has a sense of humor — his private phone ring is a recording of ceaucescu’s voice. is a sense of societal responsibility a necessary component of a decent fellow ?
the city to city program, spotlighting london this year, includes four world premieres in its slate: tom geens’ “couple in a hole, ” george amponsah’s “the hard stop, ” david farr’s “the ones below” and michael caton - jones’ “urban hymns. ”
dima (iulian postelnicu) lives downstairs with his wife. however he was having an affair with the young woman on the ground floor. soon after that overheard fight, she’s taken out in a bodybag after a (rumoured) blow to the head .
as i was watching the film, i admired how subtle it is in portraying a man whose sense of social belonging and responsibility has been destroyed almost totally by the authoritarian political system he grew up in. at the same time, i feared that the way of articulating the subject matter may be too offhand and subtle for it to fully register with audiences that haven’t grown up (as i have) within the former communist block. the key to appreciating
one floor below” is to keep in mind that it takes place in a country still troubled by its past—just like the son of the main character proves to be troubled by chaotic, video game - fueled dreams in the film’s last, strangely comforting scene that is as close as muntean gets here to articulating something akin to hope .
paul hanganu loves two women. adriana his wife and the mother of their daughter, the woman with whom he' s shared the thrills of the past ten years, and raluca the woman who has made him redefine himself. he has to leave one of them before christmas .
the camera almost never leaves sandu patrascu (teodor corban), but it’s not quite accurate to say audiences see the action through his eyes — rather, the character’s steady presence forces us to question his motivation without condemning him. he’s a perfectly “normal” guy, sharing a business with his wife, olga (oxana moravec), as car - registration expediters, lavishing attention on his golden lab, jerry, and being a decent dad to his son, matei (ionut bora). while going home, he hears a violent argument in a first - floor apartment between laura (maria popistasu) and her horny, married neighbor on the second floor, vali (iulian postelnicu). lingering a little longer than he should in the hall, sandu encounters vali exiting .
contemporary world cinema — the program with the broadest global reach — adds 56 movies, including 26 world premieres. leanne pooley’s “25 april, ” which uses animation to tell the story of the 1915 battle of gallipoli; christopher doyle’s “hong kong trilogy: preschooled preoccupied preposterous”; eric khoo’s singapore hotel - set “in the room”; and salem brahimi’s family drama set in 1980s algeria, “let them come, ” which is one of six films featured in the fest’s contemporary world speakers series, have been added to the lineup .
all this comes wrapped in a suspense scenario: muntean’s signature device is a long take of an ostensibly innocent conversation, usually focused on technicalities in a specific field (dental care in
tuesday”, computer equipment in
floor”), with a subtle tension mounting due to viewers being privy to the characters’ hidden secrets. by stretching those moments in time, muntean not only builds palpable tension, but also shows the length his characters are willing to go in order to avoid confrontation with the truth and maintain illusion of order in their lives (this very delusion may be, in fact, his favorite subject) .
this year’s opener of the section was naomi kawase’s
an ,
a cloyingly sentimental yarn of an elderly pastry chef transforming lives around her through the magic she does with the titular pancake filling. kawase is a long - time cannes darling and i may be alone in my emotional immunity to her films, but it needs to be said that this particular one feels extremely calculated in its effort to become an arthouse version of the popular inspiration - through - cookery genre that gave us
babette’s feast” and
chef ” at its best, and
chocolat” and
eat pray love ” at its worst .
sandu patrascu is an ordinary romanian citizen, living in a comfortable apartment in bucharest. he has a good job (in the vehicle registration business), a wife (no - nonsense olga), a teenage son (computer - obsessed matei) and a (trained) dog. on the whole, he feels good about himself. one day though, he gets upset by an incident he is the witness of: a violent quarrel taking place on the other side of a female neighbor' s door. worse, vali, another neighbor, leaves the apartment while sandu stands in the staircase listening. even worse, laura, the young woman he has heard shouting is found murdered. what will patrascu do under such circumstances ?
high - profile crowd gathers to celebrate u. k. film at the toronto film festival
david gordon green’s “ our brand is crisis, ” starring sandra bullock and billy bob thornton; james vanderbilt’s cbs scandal film “ truth, ” starring cate blanchett and robert redford; and “twilight” director catherine hardwicke’s “miss you already, ” starring drew barrymore and toni collette, will world premiere at the 2015 toronto international film festival, it was announced tuesday .
natalie portman’s “a tale of love and darkness, ” based on amos oz’s bestselling novel, will receive its north american premiere following its debut at the cannes film festival .
in all, toronto added almost 100 films (including more than 40 world premieres) across its gala, special presentations, city to city, contemporary world cinema and wavelengths programs. it also added 38 international short films to short cuts .
the festival will close with the world premiere of paco cabezas’ “mr. right, ” a romantic comedy with a hitman twist, starring anna kendrick and sam rockwell .
wavelengths, the festival’s experimental strand, adds 54 films (10 feature length), videos and installations .
galas “disorder, ” director alice winocour, france / belgium (north american premiere) “man down, ” director dito montiel, usa (north american premiere) “miss you already, ” director catherine hardwicke, united kingdom (world premiere) “mississippi grind, ” director ryan fleck, anna boden, usa (canadian premiere) “mr. right, ” director paco cabezas, usa (world premiere) (closing night film )
david gordon green’s “our brand is crisis, ” starring sandra bullock and billy bob thornton; james vanderbilt’s cbs scandal film “truth, ” starring cate blanchett and robert redford; and “twilight” director catherine hardwicke’s “miss you already, ” starring drew barrymore and toni collette, will world premiere at the 2015 toronto international film festival, it was announced tuesday. natalie [ … ]
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patrascu (teodor corban) spends a lot of time caring for his happy golden retriever. his son is so consumed with videogames he mumbles about passcodes in his sleep. everything about his life is mundane to the point that, as an audience member, you begin projecting great importance onto every strangely front - and - centre detail. oh, i should point out that patrescu probably knows there’s a murder in his building. but he isn’t sure and, more importantly, he feels guilty because he only suspects because he was eavesdropping on an argument, and the potential killer caught him in the act .
“life is also made of stuff like this, ” a bored, by - the - book cop tells patrascu after a semi - formal interview, in which patrascu gives nothing away. it’s a line that resonates throughout this movie. there’s a lot of stuff on the screen, and some of it is excruciatingly boring. it is up to you, in the audience, to figure out if what we’re seeing is actually plot, or if these long scenes about nothing are just the naturalism inherent in new romanian cinema .
yet this is all by design. as patrascu rolls what he thinks he knows over in his mind, he’s hired by dima to help him change the title and deed of his car. he takes the job, maybe so he can keep a closer eye on the young man. perhaps dima hires him so he can keep an eye back. why didn’t patrascu mention the argument to the cops? dima also starts showing up around the house, helping patrascu install motion sensors to the kid’s xbox console. in any other suspense movie riffing this hard on rear window, a line about installing a webcam would mean soundtrack stingers and close - ups. not here. this is detached, flat film - making at its most bare. you figure out which lines of dialogue deserve to be underlined .
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radu muntean’s new drama revolves around teodor corban as a man who withholds key evidence when his downstairs neighbor is found dead .
appreciation may vary when it comes to particular examples of the romanian new wave, but you' ve got to give these filmmakers their due: they’re great at titles. from the starkly apt the death of mr. lazarescu and the quantitatively resonant 4 months, 3 weeks and 2 days to the irony - laden child’s pose, so many of the major recent romanian films have monikers that wring heady significance from a seemingly innocuous detail. it’s all about finding austere poetry in the messy stuff of everyday life, on every level .
like several other protagonists in muntean’s films, sandu patrascu (corban) is a middle - aged, middle - class average joe, but more honest and grounded that the philandering heroes of christmas and boogie. a professional fixer who navigates the intricacies of romanian bureaucracy for people with vehicle - registration problems, he’s well - liked by clients and colleagues, loving towards his wife olga (oxana moravec) and geeky pubescent son matei (ionut bora), and positively doting towards his golden retriever jerry, whose poop he always bags responsibly .
some time passes as patrascu has dinner with his family, and goes back to work, but when he comes home that evening, the building is in a quiet uproar. laura has been found dead. maybe it was an accident, maybe not: the neighbors aren’t really sure. but when vali starts hovering about the building entrance, making excessively friendly overtures towards matei and trying to read patrascu’s poker face, it’s clear he’s worried that sandu might reveal what he knows, especially when a policeman (muntean - regular adrian vancica) starts making door - to - door enquiries .
the script plants hints about patrascu’s motivations like a trail of tiny breadcrumbs, which make this something of thriller in its very low - key, hyper - realistic way, filmed with unfussy clarity by tudor lucaciu. a vast swathe of the running time is taken up with observing patrascu going about his business as the dmv - like vehicle - registration center, interludes which almost become drolly amusing in their monotony. and then suddenly there’s a thunderbolt of violence, and all the masks of civility slip .
a moral quandary melds with a skilled construction of three - dimensional bourgeois life in radu muntean' s lean, absorbing anti - thriller .
teodor corban, iulian postelnicu, oxana moravec, ionut bora, tatiana iekel, vlad ivanov, mihaela sirbu, ioana flora, maria popistasu, liviu cheloiu. (romanian dialogue )
later that day, sandu gets word that laura is dead, possibly murdered. the police come to question the building’s occupants, and sandu stays mum, not even telling olga about the argument, although there’s little doubt in either his mind or the viewer’s that vali murdered laura. but maybe, just maybe, if sandu doesn’t say a word, it will all blow over .
but vali lives in the same building, and he’s not going away. he hangs around, a figure of quiet menace with a s–t - eating grin that’s designed to make sandu uneasy. then he asks sandu to help with his car registration, and ingratiates himself in the family by connecting matei’s xbox and offering computer advice. vali is wondering why sandu didn’t turn him in, sandu is wondering whether vali is a threat to his family, and tension is building on all sides .
the script’s ability to keep all these ideas in play while maintaining a satisfyingly low - key approach speaks to its strengths, reinforced by the way the camera constantly privileges sandu with frequent shallow focus and lighting. corban, still best known for “12: 08 east of bucharest, ” warrants the camera’s attention, delivering a performance in which the interior struggles exist just under the skin. he’s a fully developed character, and his near - omnipresence, within a limited span of time, increases the sense of pressures doggedly wearing at his soul. postelnicu’s chilling aura, steeped in menacing smugness, lingers even when he’s offscreen .
muntean again works with his usual tech collaborators (d. p. tudor lucaciu and editor alexandru radu), achieving a degree of minimalism that never feels empty or trying. his characters are the focus, and through them, a regular life becomes weighted with a moral dilemma of quasi - dostoevskian proportions .
reviewed at cannes film festival (un certain regard), may 14, 2015. running time: 93 min. (original title: “un etaj mai jos
)
production: (romania - france - germany - sweden) an epicentre films (in france) release of a multi media est, les films d’apres midi, neue mediopolis filmproduktion, bleck film & tv production, with the participation of cnc, institut francais, hbo romania, cofinova 11, cine plus, chimney. (international sales: films boutique, paris .) produced by dragos vilcu. delegate producer, oana kelemen. co - producers, francois d’artemare, alexander ris, christine haupt, anna croneman. co - executive producers, jessica ask, fredrick zander, frank evers, helge neubronner, andreas eicher .
crew: directed by radu muntean. screenplay, alexandru baciu, muntean, razvan radulescu. camera (color, widescreen), tudor lucaciu; editor, alexandru radu; music, electric brother; production designer, sorin dima; costume designer, eliza frone; sound, andre rigaut, alexandru radu; line producer, christine haupt; assistant director, sebastian mihailescu; casting, andrei amarfoaie, carmen sandu .
with: teodor corban, iulian postelnicu, oxana moravec, ionut bora, tatiana iekel, vlad ivanov, mihaela sirbu, ioana flora, maria popistasu, liviu cheloiu. (romanian dialogue )
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
writer - director radu muntean occupies his characters with trivial matters but the weirdly ambiguous conflict between the two men eventually comes to a boil .
like a pot set to bubble only every few seconds, the drama is tightly measured to ensure a controlled level of tension that remains discreetly constant .
the film takes a character who would be merely incidental in a more conventional film and uses him to construct a poignant meditation on responsibility, guilt and community .
it' s a bit of a shaggy dog tale and quite a disappointment from this talented director .
a surprising and provocative piece of romanian filmmaking. [ full review in spanish ]
surprising romanian thriller with deep moral conflicts and a strong dramatic load. [ full review in spanish ]
in its quiet accretion of everyday details, with key events happening off - screen or on the obscure margins, the beautifully shot tale is equal parts dostoyevsky and chantal akerman .
deftly scripted, subtle and challenging, this is a film which reminds us why muntean is such an important contributor to the romanian new wave .
read more: interview: director radu muntean talks ‘tuesday, after christmas’ & prison set documentary .
and i mean slowly. muntean is fascinated, as he was in ‘tuesday’ with the lived - in business of living, but here he indulges that fascination to the point of exasperation and beyond. in drab shots indifferently composed, we follow patrascu through seemingly every minute step of his everyday routine, to the point that it feels like most of the film is him driving around grey streets in an ugly compact car, monosyllabically answering his cellphone, trying to find a parking spot, going to an office, bringing in some forms, trading tired cliches with old acquaintances, and on and on and on .
of course this is entirely the point. we are supposed to watch incident, encounter and conscience work upon him incrementally, until he’s pushed towards a moment of crisis, but patrascu as a character is so frustratingly passive that when a final confrontation does occur, it is too little drama, too late on and we still have no real idea if he has undergone any actual arc of change. dima too is a mystery to us, his motives for involving himself threateningly with patrascu and not simply thanking his lucky stars he didn’t talk, are muddy. and patrascu’s wife and son are ciphers, merely there to be hovering presences on the fringes of the man’s banal daily life .
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cannes may be still abuzz with the roaring engines of george miller ’s
mad max: fury road ”—a joyful act of kinetic overkill that provided a tingly morning jolt to members of the press—but there’s also a quieter fare playing here that can be no less thrilling in its own unassuming way .
whereas the main competiton kicked off yesterday with matteo garrone ’s
tale of tales, ” an interesting if uneven rumination on the theme of loss and disenchantment, today saw the opening of a side section called un certain regard, which is nominally a second - string competition, but sometimes offers films to rival the quality of those officially vying for the golden palm (as was the case with such fare as alain guiraudie ’s
stranger by the lake ” and ruben östlund ’s
force majeure ”) .
formally speaking, the film’s inoffensive simplicity suggests finger - painting, and offers about as much sophistication in terms of character development and theme. also, to this foodie’s disappointment, kawase doesn’t try to come up with a way of filming food preparation itself that would seem appropriately loving and sensual. instead, we end up literally staring into a simmering pot of beans for much of the film’s running time, while the main character (rather bullyingly) brings good cheer to everyone she meets—especially her grumpy boss, whose dislike of sweets is an all - too - easy shorthand for the chronic unhappiness from which he suffers .
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one floor below ( romanian : un etaj mai jos ) is a 2015 romanian drama film directed by radu muntean . it was screened in the un certain regard section at the 2015 cannes film festival . it was screened in the contemporary world cinema section of the 2015 toronto international film festival . 
one floor below (romanian: un etaj mai jos) is a 2015 romanian drama film directed by radu muntean. it was screened in the un certain regard section at the 2015 cannes film festival. it was screened in the contemporary world cinema section of the 2015 toronto international film festival.
one floor below (romanian: un etaj mai jos) is a 2015 romanian drama film directed by radu muntean. it was screened in the un certain regard section at the 2015 cannes film festival. it was screened in the contemporary world cinema section of the 2015 toronto international film festival.