Kontinental '25

2025 [ROMANIAN]

Comedy / Drama

4
Rotten Tomatoes Critics - Certified Fresh 100% · 21 reviews
IMDb Rating 7.1/10 10 768 768

suicide transylvania homelessness satire female protagonist guilt

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Plot summary

Orsolya is a bailiff in Cluj, the main city in Transylvania. One day she has to evict a homeless man from a cellar, an action with tragic consequences that triggers a moral crisis which Orsolya must weather as best she can.

Director

Radu Jude Photo
Radu Jude

Top cast

Gabriel Spahiu Photo
Gabriel Spahiu as Ion
Eszter Tompa Photo
Eszter Tompa as Orsolya
Serban Pavlu Photo
Serban Pavlu as Priest Serban
Marius Damian Photo
Marius Damian as
720p.WEB 1080p.WEB
997.8 MB
1280*690
Romanian 2.0
NR
24 fps
1 hr 48 min
Seeds 23
1.81 GB
1920*1036
Romanian 2.0
NR
24 fps
1 hr 48 min
Seeds 59

Movie Reviews

Reviewed by l_cristian 7 / 10

do something or you'll regret it later

No matter how easily he hides it, mr jude is on a creational spree. He tries, he prepares, he's smart and he's using the context - in every possible way. His cultural background as a citizen of the balkans and the connections he made winning a few important prizes - this milieu gave him the opportunity to develop his ideas, financially and movie-wise. Sometimes he's just a witty-sly-droll commentator, like in this production. He doesn't care if his movie is NOT a "masterpiece": he just wants to throw ideas into the social tissue, or i'd rather say, into the social platforms. He's speculating on what used to be the stockmarket-cinema of ideas, underlining some simple obsessions in his script, and not caring too much if acting is cringey or forced, if some thoughts or poor scenes get spilled overboard during. He does not care. The important thing is the message. Therefore, sometimes, the salad of confusing things. Confronted with the wall of ignorance and stupidity flooding society, he chooses to present a less articulated chef d'oeuvre, but clinging onto the message: do something, save this leaking boat. He talks a lot through his sketchy characters about this thesis: do something to change people into something more acceptable. Unfortunately for him, he pretty much gave up feeling&sentiment, claiming to focus exclusively on Brecht's esthetics, whom he quotes too often, only to abandon the deadpan means and get serious instead and also ...incommunicado.
Reviewed by dromasca 8 / 10

in Radu Jude's mirror

Radu Jude's films intentionally take their viewers, especially those in Romania, out of their comfort zone. Whether it's about national history, its repercussions in the present, or current events, the director and screenwriter place a mirror in front of the viewers in which they see themselves, those close to them, and those who surround them. Any mirror is a reflection of reality, but mirrors can also distort. They magnify some details, shrink or hide others, offering a processed image of the world in their field of vision. This is what happens with 'Kontinental '25', the film that premiered at the Berlin Film Festival and is now starting its journey on screens in Romania. Through the title, Radu Jude ambitiously places his film, and perhaps not only this film, under the tutelage of Roberto Rossellini. The stars, aligned or misaligned, gave me the opportunity to be present at one of the first screenings today.Orsolya, the heroine of the film, is a bailiff in Cluj. The first scenes of the film do not show her, however, but Ion, a former athlete, who has become a ruin of a human being, a homeless and a beggar, rummaging through the city's garbage to fill his bags with recyclables from the sales of he barely survives. Orsolya, together with the gendarmes, executes an eviction order for Ion, an order postponed because she had already been benevolent and tried to help Ion in the past. Desperate, Ion asks for 20 minutes to arrange his affairs and commits suicide. Orsolya, although she is not at fault and the incident cannot have legal repercussions for her, feels guilty. In addition, Romanian nationalist circles in the press and on social networks try to create a diversion case out of this story. The event shakes the fragile balance of her world, already based on compromises. She is Hungarian and married to a Romanian officer. Her mother is a Hungarian nationalist, but she converted to Orthodoxy in order to integrate into her husband's family. She lives in a privileged area of the city undergoing spectacular development, but her profession puts her in contact with the most disadvantaged of the citizens left behind in neo-capitalist Romania. The film is a succession of dialogues between Orsolya and several people: a friend involved in social activities, her mother, a former student, her priest, in which the heroine tries to find peace and ease her conscience. Is there a real solution to these turmoils, or the only alternative is to retreat back into compromise?Screenwriter Radu Jude manages to catch in this story many of the contradictions that simmer under the spectacular development of the Transylvanian capital into a technological center and a modern European city: the traumas of history and nationalist resentments, the differences in social status and economic situation between those who have succeeded and those who were left behind by the system, an imperfect political and judicial apparatus. Film director Radu Jude alternates the fiction built through a succession of episodes captured by the Ozu-style fixed camera, with images of the Cluj of contrasts that recall his experimental films that explored the past based on archival photographs. The fictional part is supported by an excellent team of actors built around the main heroine played by Eszter Tompa. The combination works very well and the effect is assertive and disturbing, as the filmmaker intended. If it weren't like that, it wouldn't be a Radu Jude film.
Reviewed by mitreaioana 9 / 10

Nathan Fielder meets Eastern Europe - in the best possible way

I went to see this film because I had a feeling it would have that satirical, quirky, dry humor - and I was absolutely right. And I was not disappointed at all!The humor reminded me a lot of Nathan Fielder's style - deadpan, awkward, and sharply observant - it kept me fully engaged the whole time.I'm not a filmmaker, but I truly appreciated the irony and subtle commentary running throughout.I recommend this to anyone who enjoys refined, understated humor and wants to reflect on complex social issues. It really goes deep into minorities judging other minorities - and it does so in a way that's both hilarious and uncomfortable (in the best sense). :)
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