Atheist on the spring Once again, Romanian cinema with its long plans – this film is made up of only 42 such plans created by Oleg Mutu.
The art of persuasion. This man says the right things, at first glance, and does not convince. And the words are selected and the point of view is close to you, and does not work. The beautiful 19-year-old nun is a very strong irritant in a society that has forgotten about its medieval roots. In the film, her name is Christina, and she is mostly silent. Perhaps the characters are specially selected so that their bread is not fed, but let them speculate about religion. Or it's too much moralism, which can really be blamed on some scenes. But Christina herself in the center of the story still contributes to such conversations.
In the course of the film, her or her religion is accused of archaicism, business under the guise of spirituality, treatment with prayers instead of conventional medicine, and of simply ruining your life by hovering in the clouds and feeding on illusions. And she is really silent, distracted from unnecessary conversations only to talk about retro music.
And what was it that had to say to an assertive and self-assured police inspector, Marius Preda, to treat you like a loving father? Although he has a wife and two children, and words he knows so that if he wants to knock confession from anyone. These strange powers of the word (possibly of mercy) were born out of silence—the tightening of the tongue can be a sign of great inner strength. Silence is the art of persuasion, giving weight to every stingy phrase. And the active inspector does not cease to be active – on the contrary, his energy increases: as if an atheist opened a new field of being and he jumps out with a spring to conquer it, although he does not fully understand the laws in force here, along the way forgetting about DNA and other wisdoms of his profession. The image of Marius, apparently, is associated with the title of the film, although each viewer is free to judge for himself what the miracle is.
Silence of part of the storylines, apparently, is also intended to convince the viewer of something, and you can think about where exactly this film directs its moral arrows. Christina becomes a girl out of nowhere, and what she aspires to, no one will say. Just an outburst of different behavior in the world of soulfulness of varying degrees of corruption, where judging everything is considered a sign of development. The spiritual cannot judge the spiritual, but the spiritual can judge everything. In the most emotional and final scenes, Mutu’s camera makes a leisurely dispassionate circle, the closest to the center of which is Christina – this emphasizes both her importance to the world and her very alienity to this world. So, the viewer needs to be convinced that he, whoever he is in front of the screen, knows nothing about Christina. Therefore, it is not necessary to judge such otherness that you met on the street - it will still teach you life, so much so that you will forget about your principles, and about what they said yesterday, and about what the entire brief human age was sure of.
7 out of 10
Original