R.M.N.
Christian Mungiu’s R.M.N. is about the social divide. It could be about the U.S. or any European country. A scary allegory of intolerance. Mungiu presents his story slice by slice in claustrophobic dark sets. This is such a complex film, that one is pleasantly surprised by the aesthetics which are done so well. Tudor Panduru’s photography makes superb use of a 2.39:1 extreme-widescreen aspect ratio that obviously flatters the starkly beautiful Transylvanian landscapes, but would be extravagant for the talkier interiors, were they not laid out with such precise choreography, framing and attention to background action. At times the story is jumpy and often confusing but it gets its ultimate message across. The ending opens itself to multiple interpretations.
BURNING DAYS
Burning Days is a co-production involving Turkey, France, Germany, the Netherlands, Greece and Croatia. With that many countries and eight production companies it is little wonder that the film is somewhat convoluted. Burning Days benefits from both DP Christos Karamanis’s widescreen photography and the way he uses his close-ups. Both techniques are an integral part of the storytelling. Some might consider this a Turkish Chinatown but it is much more tense and gripping. This is a good arthouse suspense film requiring thought and interpretation of its often metaphorical tale.
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