Vivi Drăgan Vasile

A documentary about classic Romanian playwright Ion Luca Caragiale's time of exile in Berlin, Germany.

Iosif Demian returns forty years later to Rosia Montana, the place where two memorable films of the Romanian cinema have been shot: "Nunta de piatra" and "Duhul aurului" for which he signed the cinematography.

The first film produced by FAV is a sociopolitical musical featuring Valeriu Sterian and the Sound Company, from which we extracted four of the ten songs of the “album” (Escu, The future political prisoners want to know, We will be what we have been, and A plea without a bridle.)

Security guard Aurel (Andi Vasluianu) and his wife Irene have a moderately happy marriage and a moderately comfortable lifestyle in urban Romania. Irene takes a working trip to Cairo and returns invigorated with the swell of success. She sets out again and never returns. What follows is both predictable and unpredictable. Aurel, and the audience, are suspicious of the official explanation of her death so the foundation is laid for the traditional who-dunnit. Aurel proceeds on an emotional search against all odds.

Two brothers meet again one morning in the apartment of the man who left his hometown long ago and became a cosmopolitan urbanite. The perspective of the past left behind confronts that of the new man, integrated into the life of the big city.

A documentary about classic Romanian playwright Ion Luca Caragiale's time of exile in Berlin, Germany.

Iosif Demian returns forty years later to Rosia Montana, the place where two memorable films of the Romanian cinema have been shot: "Nunta de piatra" and "Duhul aurului" for which he signed the cinematography.

The first film produced by FAV is a sociopolitical musical featuring Valeriu Sterian and the Sound Company, from which we extracted four of the ten songs of the “album” (Escu, The future political prisoners want to know, We will be what we have been, and A plea without a bridle.)

Security guard Aurel (Andi Vasluianu) and his wife Irene have a moderately happy marriage and a moderately comfortable lifestyle in urban Romania. Irene takes a working trip to Cairo and returns invigorated with the swell of success. She sets out again and never returns. What follows is both predictable and unpredictable. Aurel, and the audience, are suspicious of the official explanation of her death so the foundation is laid for the traditional who-dunnit. Aurel proceeds on an emotional search against all odds.

Two brothers meet again one morning in the apartment of the man who left his hometown long ago and became a cosmopolitan urbanite. The perspective of the past left behind confronts that of the new man, integrated into the life of the big city.