Filmul Tranzitiei

Filmul tranziþiei
Contribuþii la interpretarea
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Gorzo si Filippi.indd 1 11/10/2017 4:55:52 PM

ANDREI GORZO
GABRIELA FILIPPI
(coordonatori)
Filmul tranziþiei
Contribuþii la interpretarea
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&ROHFĵLD
C I N E M AG
Coordonatori:
IOAN POP&85Ĳ(8
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© TACT, 2017
ILUSTRAÞA COPERTEI:
fotografie de platou a filmului ôQQHEXQHVFîLPLSDUHUĀX,
obþinutã cu sprijinul Arhivei Naþionale de Filme.
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Filmul tranziþiei: Contribuþii la interpretarea cinemaului
URP÷QHVFÅQRXĀ]HFLVWµ/ coord.: Andrei Gorzo, Gabriela Filippi.
- Cluj-Napoca: Tact, 2017
ISBN 978-606-8437-89-7
I. Gorzo Andrei (coord.)
I. Filippi, Gabriela (coord.)
791

Argument
ANDREI GORZO & GABRIELA FILIPPI
V ROXPXOGHIDüĀDIRVWJ÷QGLWFDXQIHOGHprequel la Politicile filmului.

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6 • Argument
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asupra cinemaului lui Nae Caranfil (eseul lui Costi Rogozanu ºi cel al
lui Christian Ferencz-Flatz) ºi cel puþin trei asupra operei lui Mircea
Daneliuc (Costi Rogozanu, Ionuþ Mareº, Andrei Gorzo), iar perspectivele
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Argument • 7
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Ca ºi Politicile filmului, volumul Filmul tranziþiei reuneºte autori
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la volumul precedent – mai mult sau mai puþin contemporani cu cine-
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afara lor.

PARTEA ÎNTÂI
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mului românesc, identificate cu pelicule ce cu greu s-au strecurat
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semnate de Mircea Daneliuc, Mircea Veroiu, Dan Piþa, Stere Gulea,
Constantin Vaeni, Al. Tatos, Alexa VisarionHWFHVWHWLPSXOVĀFH-
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12 • Filmul tranziþiei
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cu atât era considerat mai valoros.
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multor comentatori, valoarea filmului, ceea ce e cel puþin ciudat,
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me de 1990 sunt cele mai greu de adus ca mostre de cinema de
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G ABRIELA F ILIPPI • Comori ascunse • 13
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Berlin, Bucureºti, Rao, 2017, p. 27-28.
4
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te, filmul nu a produs prea mult entuziasm din cauza stridenþelor
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lui combinatului chimic pentru a obþine beneficii, realizând cât
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1989.
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(cazurile lui Daneliuc ºi Pintilie ºi, neintenþionat, al lui Tatos, al

6DELQD7DFXûQWURDQFKHWĀUHDOL]DWĀSHSODWRXOGHILOPDUHSHQWUXUHYLVWDCine-
ma, nr. 9, 1984, p. 6.

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lui Pintilie de a organiza proiecþii clandestine pentru cunoscuþi ai
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LQWHU]LFHUHVDXGHDLIDFHFXQRVFXWĀH[LVWHQüDODSRVWXOGHUDGLR
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fusese subiectul dezbaterii unei ºedinþe speciale a Secretariatului
CC al PCR,ûQXUPDFĀUHLD1LFRODH&HDXîHVFXûQVXîLGHFUHWDVHÅûQ
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2013: adev.ro/mh1ntw.
7
&ĀOLQ&ĀOLPDQIstoria filmului românesc (1897-2010), Bucureºti, Contempora-
nul, 2011, p. 284.

UHJL]RUXO QX DYHD XQ ILOP SXWHUQLF ûQ VSDWH FDUH DU IL SXWXW VĀ
ûQWUHüLQĀFXULR]LWDWHDIDüĀGHQRXOSURLHFW
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U÷QGGLQWURWDEĀUĀûQDOWDGHODÅSURVFULîLµODÅPHULWRULLµ²îLLQ-
YHUV(GHSLOGĀFD]XOOXL&RQVWDQWLQ9DHQLUHJL]RUDOILOPXOXLLV-
toric %X]GXJDQXOFXWUHLSHFHüL (1977), despre unirea Principatelor
Române sub Mihai Viteazul. Filmul fusese comisionat chiar de
îHIXO VWDWXOXL QHPXOüXPLW GH IHOXO VSHFWDFXORV ûQ FDUH 6HUJLX
1LFRODHVFXWUDWDVHVXELHFWXOûQFHOHEUXOVĀXILOPUHDOL]DWFXîDSWH
DQLPDLGHYUHPHîLGRULQGFDQRXDYHUVLXQHVĀILHPDLGHJUDEĀ
un film de idei.8ôQFD]XODFHVWHLWUDWĀULDVXELHFWXOXLLVWRULFDX
fost depuse chiar mai puþine eforturi decât la alte producþii din
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IDSWXO FĀ SHUVRQDOLWDWHD YRLHYRGXOXL VH PXOD SH LGHDOXULOH SUR-
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'DFĀDUWLFROXOSHFDUHûOFLWDPûQLQWURGXFHUHDWH[WXOXLGHIDüĀîL
DOWHOHûOGĀGHDXSH9DHQLGUHSWDXWRUGHILOPHFHQXVDXGHGDW
ÅQRQFXOWXULLîLFRPSURPLVXOXLµHUDSHQWUXFĀ9DHQLDYXVHVHûQ
ultimii ani ai regimului Ceauºescu un film despre asasinatul is-
toricului Nicolae Iorga, Drumeþ în calea lupilor WHUPLQDW ûQWUR
SULPĀYDULDQWĀûQFDUHWUHFXVHSULQWUROXQJĀVHULHGHYL-
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ILHFDUHGDWĀUHûQQRLWHôQWUXQILQDOILOPXO a fost aprobat, iar pre-
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nu a mai avut loc. Astfel prezenta parcursul filmului scriitorul (ºi
scenaristul filmului Reconstituirea+RULD3ĀWUDîFXûQWUXQDUWLFRO
ûQ ]LDUXO )ODFĀUD din data de 2 mai 1990: „spun «din fericire»,
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8
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de vorbele gâfâite ale impostorului ºi de ropotele de aplauze ale
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punct de vedere formal, dar ºi prin subiectele pe care le abordau
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FLQHPDXOURP÷QHVFVRFLDOLVW$SĀUHDXDWXQFL3UREDGHPLFURIRQ
(Mircea Daneliuc, 1979), 2ODFULPĀGHIDWĀ (Iosif Demian, 1980),
Croaziera (Mircea Daneliuc, 1981), Concurs (Dan Piþa, 1982),
Secvenþe$OH[DQGUX7DWRV)DOH]HGHQLVLS (Dan Piþa, 1983)
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9
+RULD3ĀWUDîFX, Å0XULQGVXSHULSRDWHûQFXUFLGHVLJXUµ)ODFĀUD, nr. 18, 2 mai
1990, p. 6.

1983 ºi apoi retras imediat din cinematografe.10 Intervenþia lui

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10
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GRLWUHLDQLµ$OH[DQGUX7DWRV3DJLQLGHMXUQDO, Bucureºti, Nemira, 2010, p.
323-324).
11
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controlului ideologic.
12
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communiste, p. 283-289. (Apariþia acestui volum a reprezentat un eveniment
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instituþionale ºi a evenimentelor istorice care au influenþat producþia de film
pe parcursul celor patru decenii ale perioadei, dar volumul este foarte valoros
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drept divertisment. Nemulþumirea lui Ceauºescu ºi a oficialilor
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(Supliment literar artistic), nr. 10, 12 martie 1991, p. 4.
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Aurelia Vasile, /HFLQpPDURXPDLQGDQVODSpULRGHFRPPXQLVWH, p. 281.

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Cristian Tudor Popescu, )LOPXOVXUGûQ5RP÷QLDPXWĀ, Iaºi, Polirom, 2011.

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nu se justifica. Vezi Iulia Blaga, )DQWDVPH îL DGHYĀUXUL 2 FDUWH FX 0LUFHD
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46
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47
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la finalul anului 1989.

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terii afective, nu cronologice – una dintre influenþe era, aºa cum
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Citat inLELGHP, p. 300-301.

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Fundaþiei Culturale Române, 2000, p. 419.

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aarc.ro/articol/adevarul-despre-un-film-amputat-drumet-in-calea-lupilor.

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16
Mariana Constantinescu, „Destinul mareºalului – un nou film românesc pe
HFUDQH,QWHUYLXFX)HOLFLD&HUQĀLDQXµ1LQHR·FORFN, 20 mai 1994: http://aarc.
ro/articol/destinul-maresalului-un-nou-film-romanesc-pe-ecrane.

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cu discursul naþional-ceauºist ce afirma „supremaþia românilor
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zator – cam pe modelul procesului lui Ceauºescu. [...] «Avocatul»
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ne, Adrian Cioroianu a insistat mai ales asupra persecuþiilor din
17
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http://cnc.gov.ro/wp-content/themes/cnc/pdf/fls-1149.pdf.

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principalul factor motivant al deciziilor mareºalului. [...] Chiar nu
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maului de autor, o mare parte dintre filmele româneºti de tranziþie revendi-
cându-se de la acesta.
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Patul conjugal ºi 9XOSHY÷QĀWRU.
17
Dublu extaz (regia Iulian Mihu), Patul conjugal (regia Mircea Daneliuc), Omul
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cinematografice predecembriste, precum Miss Litoral (regia Mircea Mureºan)
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18
Din nou Patul conjugal, Omul zilei ºi Confesiune, Asfalt Tango (regia Nae
Caranfil), Senatorul melcilor (regia Mircea Daneliuc).
19
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lui), cel de-al doilea, forþarea ambilor, a femeii ºi a adolescentului,
GH D ûQWUHüLQH R UHODüLH VH[XDOĀ H YLROHQüĀ SXUĀ 9LROXO H DLFL
punctul culminant, cu funcþie transformatoare, ºi rezolvarea na-
UDWLYĀDILOPXOXL²ÅGH]YUĀMLUHDµWLQHUHLIHPHL²ûQFDUHGUXPXOXL
LQLüLDOSDUFXUVGH$QJHODFXW÷QĀUXOHLDGPLUDWRUûLFRUHVSXQGHR
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În 1HûQYLQVĀLGUDJRVWHDGHEXWXOûQUHJLHDOOXL0LKQHD
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20
ôQ FLXGD FDOLWĀüLL OXL GLVFXWDELOH ILOPXO OXL &ROXPEHDQX DYXVHVH OD ILQDOXO
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6WHUH*XOHDGLQDFHHDîLSHULRDGĀ9XOSHY÷QĀWRU(23.891 de spectatori) ºi Stare
GHIDSW (19.406 de spectatori), semnificativ mai cunoscute ºi comentate (vezi
http://cnc.gov.ro/wp-content/uploads/2017/06/Spectatori-film-romanesc-la-
31-decembrie-2016.pdf).
21
Subiectul filmului – acelaºi cu cel din Vorbeºte cu ea/Habla con ella (2002)
GH 3HGUR $OPRGyYDU ² VH ED]HD]Ā SH R îWLUH GH IDSW GLYHUV SXEOLFDWĀ GH
necreditabila publicaþie Expres Magazin, despre un caz de necrofilie soldat
FX ÅWUH]LUHD GLQ PRUüLµ D GHFHGDWHL 'RYHGLWĀ XOWHULRU IDOVĀ îWLUHD D IRVW
GUDPDWL]DWĀODûQFHSXWXODQLORUGHæWHIDQ&DUDPDQûQSLHVDMorþi ºi vii.

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iubirii dintre Magda ºi logodnicul ei, Cezar. Ambii sfârºesc prin
DOSHUFHSHDVWIHO²0DJGDLQWHUSUHWHD]ĀûQDFHVWPRGYLROXOûQ
GLVFXüLDFX&H]DULDU&H]DUûQIDüDFRUSXOXLLQHUWDOORJRGQLFHLSH
FDUHDEUXVFDWRûLFHUHOXL$XULFĀVĀRSHUH]HîLDGRXDRDUĀPDJLD
VROLFLWDUHDDUHODIHOGHPXOWVHQVFDPDLWRWFHVHSHWUHFHûQILOP
1HûQYLQVĀL GUDJRVWHD e singurul film de actualitate al epo-
FLLFDUHDFRUGĀVSDüLLODUJLUHSUH]HQWĀULLUHDFüLHLFHORUGLQMXUOD
ideea de viol asupra unui membru al grupului/familiei: ultragiu
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ûQDQVDPEOXIDPLOLDRUHLWHUDUHDPRWLYXOXLFODVLFDOGaiþelor lui
$OH[DQGUX.LULüHVFXREVHVLDSLHUGHULLYLUJLQLWĀüLLGHPHUVXOJUR-
WHVFGHUHIDFHUHPHGLFDOĀDKLPHQXOXLSURFHGXUĀLOXVWUDWĀPH-
WDIRULFSULQLPDJLQHDVWU÷QJHULLîLUHWXOXLXQXLFRUVHWîLûQFD]XO
ORJRGQLFXOXLUHVSLQJHUHDIHPHLLFDLPSXUĀôQVĀIDSWXOFĀYLROXO
GHFODQîHD]ĀRVHULHGHDFüLXQLXOWHULRDUHQXûQVHDPQĀFĀDFHVWHD
VXQWîLQHFHVDUHûQDQVDPEOXOILOPXOXL
În &HO PDL LXELW GLQWUH SĀP÷QWHQL (regia ªerban Marinescu,
ûQVFKLPEûQFDUHVHUHJĀVHîWHXQLFDVFHQĀGHYLROKRPR-
VH[XDOGLQILOPXOQRXĀ]HFLVWVLQJXUDFRQVHFLQüĀGUDPDWXUJLFĀD
DJUHVĀULLOXL9LFWRU3HWULQLæWHIDQ,RUGDFKHGHFĀWUH*UHF0LUFHD
$OEXOHVFXHVWHDVDVLQDUHDDFHVWXLDGHFĀWUHFHOYLRODWGLQQRX
IĀUĀFRQVHFLQüHPRPHQWXOHXUPDWGHXQVDOWûQWLPSODHOLEH-
rarea lui Petrini). Violul ºi crima nu au niciun fel de consecinþe
morale ori psihologice asupra lui Petrini.
ôQURPDQXOOXL0DULQ3UHGDSHFDUHVHED]HD]ĀVFHQDULXOILO-
mului, Victor Petrini nu e violat ºi personajul Grecului (care nu are
nume) e limitat la câteva rânduri (e un posibil motiv pentru care
introducerea unor referinþe ulterioare la relaþia cu Grecul sau te-
matizarea violului ar fi necesitat un cu totul alt tip de demers sce-
QDULVWLFLDURSüLXQHDOXLæHUEDQ0DULQHVFXHVWHPRWLYDWĀVWULFW
GHLQWHUSUHWDUHDYLROXOXLKRPRVH[XDOFDJHVWVXSUHPGHXPLOLQüĀ
22
3HQWUXRDQDOL]ĀDWUDWĀULLDFHVWHLWHPHûQHabla con ella, vezi Adriana Novoa,
Å5RXJK$ZDNHQLQJV8QFRQVFLRXV:RPHQDQG5DSHLQKill Bill and Talk to
HerµLQ'RPLQLTXH5XVVHOOHGRape in Art Cinema, p. 83-96.

ûQ DFHODîL WLPS GXSĀ FXP VSXQHDP FLQHPDXO HSRFLL DVRFLD]Ā

FXUHQWûQPRGQHJDWLYFRPXQLVPXOîLKRPRVH[XDOLWDWHD
%DQDOL]DUHDYLROXOXLFDHOHPHQWGHFRORUDWXUĀ
M HUJ÷QGPDLGHSDUWHOLSVDGHUHOHYDQüĀGUDPDWXUJLFĀDYLR-
lului ºi a diverselor altor forme de abuz sau agresiune se-
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FDOHGHFRQVHFLQüĀFRPRGLILFDUHDFRUSXOXLIHPLQLQUHSUH]HQWDW
FDVLPSOXHOHPHQWLOXVWUDWLYûQFRQGLüLLOHûQFDUHRULFXPFRUSXO
IHPLQLQVH[XDOL]DWDUHRIXQFüLHGHFRUDWLYĀHYLGHQWĀîLOLSVLUHD
de capacitate de autodeterminare a femeilor. Iar normalizarea
DJUHVLXQLLVH[XDOHMXVWLILFĀGHDOWIHOîLLPSXQLWDWHDDJUHVRULORU
9LFWLPĀ HO ûQVXîL D XQXL YLRO KRPRVH[XDO 9LFWRU 3HWULQL
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UDOFDSDUWHDLQVWUXPHQWDUXOXLXPLOLQüHLîLGHJUDGĀULL3HQWUXFĀ
3HWULQLHGHODXQFDSĀWODFHOĀODOWDOILOPXOXLHURXPRUDOîLYLF-
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H[DFHUEDUHDFRPSRUWDPHQWXOXL0DWLOGHL
În 'RL KDLGXFL îLR FU÷îPĀULüĀ (regia George Cornea, 1993),
ûQWUHDJDQDUDüLXQHDUHFDSUHWH[WîLHGHFODQîDWĀGHYLRODUHDXQHL
tinere ºi ulterioara – imediata – ei sinucidere, dar filmul nu pier-
de timpul cu procesul psihologic prin care trece femeia pentru a
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viol ºi a unei sinucideri are gradul cel mai redus de autodetermi-
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Intenþia de a justifica dramaturgic tentativa de viol la care
H VXSXVĀ æLFD &LUHîLFD MXFDWĀ GH &HFLOLD %÷UERUD ² FD IDFWRU
GHFODQîDWRUDOYLROHQüHORULQWHUHWQLFH²H[LVWĀûQSenatorul melci-
lorDOOXL0LUFHD'DQHOLXFûQVĀHFXWRWXOQHFRQYLQJĀWRDUH
3XWHDVĀILHRULFHDOWFHYDGHDOWIHOFRQIOLFWXOGHOD+ĀGĀUHQLGLQ
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]RUXOXLHVWHGHDVHDY÷QWDSHWHUHQXOHFKLYRFXOXLûQLQWHUSUHWDUHD
UHODWĀULLGHFĀWUHæLFDDIDSWXOXLFĀDIRVWYLRODWĀGHSROLüLîWLûQ
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PRWLY DSDUHQW SHQWUX FDUH 'DQHOLXF DSHOHD]Ā OD WURSXO YLROXOXL
HVWHUHODüLDSHFDUHRVWDELOHîWHQXGRDUûQSenatorul melcilorFLûQ
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romilor din sat de a o viola pe ªica este, pe scurt ºi metaforic,
tentativa lor de a domina comunitatea).
Dintre producþiile lui Daneliuc, Patul conjugal este de departe
ILOPXOûQFDUHVH[XDOLWDWHDIHPHLORUHVWHFHOPDLIODJUDQWWHUHQXO
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rul de cinematograf Vasile, controlul asupra propriei vieþi ºi a
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material) trece prin controlul asupra corpurilor femeilor din jur
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Inter), cu voinþa ºi autodeterminarea Stelei ºi a Carolinei, iar fap-
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are nimic de-a face cu dorinþa.
Prin ochii ei
N LFLRGDWĀ ûQ ILOPHOH GHVSUH FDUH YRUELP H[SHULHQüD YLROXOXL

QX H UHGDWĀ FLQHPDWRJUDILF GLQ SHUVSHFWLYD YLFWLPHL FL ILH
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pretat ca privirea violatorului.
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H[FOX]÷QGGRFXPHQWDUXOFROHFWLY3LDüD8QLYHUVLWĀüLL) este sin-
JXUDFHFXSULQGHGRDUILOPHFXSURWDJRQLVWHIHPHLFĀURUDûQSOXV
OHHVWHDWULEXLWĀRLQGHSHQGHQüĀFUHVFXWĀGHGHFL]LH&HLGUHSW
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celei vechi).
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violului.
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OLGHUXOXLGHVLQGLFDWQXHSHUFHSWLELOGDFĀQXDPMXGHFDVFHQD

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decorporalizare.
E un bun moment pentru a o invoca din nou pe Sarah
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principal genuin romantic, iar voinþa de autodeterminare a femeii
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FĀ PXOWH HOHPHQWH VXQW OD OLPLWD DJUHVLXQLL YHUEDOH îL D PLVR-
ginismului lipsit de contrapunct comic/de corecþie24): comedia
lui Nae Caranfil Asfalt Tango (1996). Violul consumat nu e un
23
Sarah Projanski, :DWFKLQJ 5DSH )LOP DQG 7HOHYLVLRQ LQ 3RVWIHPLQLVW &XOWXUH,
p. 30.
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mainstreamul filmului românesc, la finalul anilor 1990, la fel de
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cu debutul unei noi generaþii. În 2001, Marfa ºi baniiDYHDVĀÅGHD
VWDUWXOµ îL XQHL QRL SROLWLFL GH UHSUH]HQWDUH D UHODüLLORU GH JHQ
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reluate din Senatorul melcilorDSDUHFDGHDGUHSWXOH[RWLFĀ$VWD
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Anticomunism
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Filmele anilor ’90
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vol. 41, nr. 1, 2014.

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sociopolitic, GLVFXUVXODQWLFRPXQLVW, care a cuprins majoritatea dis-
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tranziþiei postcomuniste.
Discursul anticomunist a fost foarte influent, activ, chiar hege-
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din 1960-1989, cu numeroasele sale componente ºi implicaþii (de
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centuat de anticomunism2²QLFĀLHULûQ(XURSDGH(VWDW÷WGHDcut
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ºi influent ca aici –, studiile culturale de la noi s-au ocupat relativ

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spre politologie4 sau ca fenomen simptomatic de istorie intelec-
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vatoare ºi neoliberale.7
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Florin Poenaru, /RFXULFRPXQH&ODVĀDQWLFRPXQLVPVW÷QJD, Cluj, Tact, 2017.
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Daniel Barbu, 5HSXEOLFDDEVHQWĀ3ROLWLFĀîLVRFLHWDWHûQ5RP÷QLDSRVWFRPXQLVWĀ,
Bucureºti, Nemira, 2004.

Vasile Ernu, Costi Rogozanu, Ciprian ªiulea ºi Ovidiu Þichindeleanu (coord.),
,OX]LDDQWLFRPXQLVPXOXL/HFWXULFULWLFHDOH5DSRUWXOXL7LVPĀQHDQX&KLîLQĀX
Cartier, 2008.
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la adresa establishmentului românesc postcomunist: Ciprian ªiulea, Retori,
VLPXODFUH LPSRVWXUL &XOWXUĀ îL LGHRORJLL ûQ 5RP÷QLD, Bucureºti, Compania,
2003, ºi Sorin Adam Matei, Boierii minþii. Intelectualii români între grupurile
GHSUHVWLJLXîLSLDüDOLEHUĀDLGHLORU, Bucureºti, Compania, 2004.
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cembrie 1989, au devenit figuri-cheie ale principalelor companii de
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raturii în postcomunismul românesc, Bucureºti, Editura Muzeul Literaturii
Române, 2017.
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edituri comuniste au fost privatizate ºi restructurate prin privilegierea unor
teme anticomuniste.

au absorbit o mare parte a discursului anticomunist, la rândul

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unui Occident mitologic, unde nu prea se poate ajunge. România
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(care va deveni mai târziu 7ĀQDVH6FDWLXal lui Piþa). În noiembrie
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funcþie la studioul Solaris, fiind responsabil pentru majoritatea
filmelor postdecembriste ale lui Piþa ºi pentru alte câteva filme
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unui regizor: dintre scenariile pe care Mihnea Columbeanu i le
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cu un subiect care, observau ºi criticii de film la data premierei
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decât regizorului debutant.
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relaþiilor dintre directorii celor cinci studiouri ºi regizorii care
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Academia de Teatru ºi Film din Bucureºti.

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Beumers (ed.), A Companion to Russian Cinema 0DOGHQ :LOH\%ODFNZHOO
2016, p. 178-201.

mai frecvente sunt cele ale lui Radu Gabrea ºi Lucian Pintilie),
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o reputaþie pentru insistenþa cu care susþinea paternitatea regi-
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*LXOLR 7LQFX FRODERUDWRU DO UHJL]RUXOXL /LYLX &LXOHL UĀVSXQGH
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rile despre statutul autorului din revistele occidentale de cinema,
cum ar fi &DKLHUVGX&LQpPD sau Screen. În realitate, trimiterile te-
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22
Cinema, nr. 2/, 1967, p. 2.
23
(GZDUG%XVFRPEHÅ,GHDVRI$XWKRUVKLSµLQ-RKQ&DXJKLHHGTheories of
$XWRUVKLS$5HDGHU, London, Routledge, 1981, p. 22-34.

ODQHVI÷UîLWGRXĀSUREOHPHGHFH e regizorul autorul ultim al fil-

mului ºi care sunt acele caracteristiciFDUHVHSDUĀXQUHJL]RUDXWRU
de un regizor cu simple competenþe tehnice. Toate aceste eforturi
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24
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-HDQ0LWU\(VWKpWLTXHHWSV\FKRORJLHGXFLQpPD, Paris, Cerf, 2001, p. 17-28.

de la &DKLHUVGX&LQpPD promovau ideea de autor pentru a res-

pinge un anume tip de cinema francez, prea dependent de sce-
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tic film de autor (filmul românesc „nu ºi-a creat [...] nu o tradiþie,
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$ODLQ5HVQDLVHFRQVLGHUDWGH&ĀOLPDQXQDXWRUFKLDUGDFĀIDFH
26
Cinema, nr. 11, 1967, p. iii.
27
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28
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Filmelor lui Munteanu, scrie criticul, le lipseºte personalitatea
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numai 0HDQGUHGH0LUFHD6ĀXFDQîL'XPLQLFĀODRUDde Lucian
Pintilie.
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29
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dedicate specificului ºcolilor naþionale de film, Cinema, nr. 2, 1967, p. 3: „Eu
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cial ºi cinemaul cu pretenþii artistice – de unde repetate delimi-
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autenticului ºi a artisticului.30
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WUĀûQSDJLQLOHUHYLVWHLCinema. N-o spun numai regizorii (de la
Manole Marcus la Mircea Mureºan, de la Lucian Bratu la Sergiu
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1967, p. iii).
31
Vezi interviul cu acesta din Cinema, nr. 12, 1972, p. 3-4.

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lui Mircea Daneliuc, respectiv ôQQHEXQHVFîLPLSDUHUĀXDOOXL-RQ
Gostin.41
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sau cele ale regizorilor care nu aveau statutul de autori sunt ana-
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41
1RXO&LQHPD, nr. 4, 1992, p. 8.
42
9H]LFURQLFD,ULQHL&RURLXODDFHVWILOPûQ1RXO&LQHPD, nr. 6, 1993, p. 4.

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onist. Reflecþiile lui Bogdan Burileanu pe marginea filmului Doi
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43
1RXO&LQHPDQUS
44
1RXO&LQHPD, nr. 2, 1993, p. 11.

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9H]L$OH[/HRĲHUEDQGHFHQLLDQLîLOXQLFXILOPXOURP÷QHVF, Iaºi, Poli-
rom, 2009, p. 17.
46
1RXO&LQHPD, nr. 9, 1991, p. 10.

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Pro CinemaDSĀUXWĀGLQDQXOîLGHFLSUREDELOXQFRQVWUXFW
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de filme.
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sub forma autorului totalµVFULD$OH[/HRĲHUEDQûQÅ'HVSUHXQ
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care surprinde, cu curaj, iluziile care alimentau cinematografia
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pur tehnice pe care le presupune profesia de regizor.
47
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Despre televiziune, urmat de Dominaþia jurnalismului, traducere ºi prezentare
de Bogdan Ghiu, Bucureºti, Meridiane, 1998, p. 46).
2
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mentul care se apropie cel mai mult de ceea ce am putea conside-
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3
0LKDL ,RYĀQHO ,GHRORJLLOH OLWHUDWXULL ûQ SRVWFRPXQLVPXO URP÷QHVF, Bucureºti,
Editura Muzeul Literaturii Române, 2017, p. 100.
4
$OH[/HRæHUEDQGHFHQLLDQLîLOXQLFXILOPXOURP÷QHVF, Iaºi, Polirom,
2009, p. 43.

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org/details/filmtillnowsurve00roth.

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fi citit online: https://introtofilmandmedia.files.wordpress.com/2014/09/
steiger-the-politics-of-film-canons.pdf.
8
,ELGHP, p. 19.

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Å$OH[5RWDUXûQGLDORJODNOUL CINEMAµ1RXO&LQHPD, nr. 3, 1997, p. 38.

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Bucureºti, Meronia, 2013, p. 368-369.

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instituþii asupra culturii ºi canonului cinematografice din ulti-
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22
Tudor Caranfil, Dicþionar subiectiv al realizatorilor filmului românesc, Iaºi,
Polirom, 2013, p. 164.
23
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FDWXQUROVLPLODUûQURSS, anume de vestitor al atmosferei sociale
27
Andrei Gorzo, ,PDJLQLûQFDGUDWHûQLVWRULH, p. 70.
28
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29
Robert Bird,$QGUHL7DUNRYVN\(OHPHQWVRI&LQHPD, London, Reaktion Books,
2008, p. 8.

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&ĀOĀX]D, cu cinci voturi, ºi $QGUHL 5XEOLRY, cu patru voturi (au
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tot $QGUHL5XEOLRY, cu opt voturi (au fost numite 60 de filme).33 În
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Concluzii (provizorii)
P rimul deceniu postcomunist este, pentru câmpul cinemato-

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$GLQD%UĀGHDQXÅ&OLîHHOHGLHKDUGµPro Cinema, nr. 7, 1996, p. 46.

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al CINEROM
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organigramei ºi a statelor de funcþii ale studiourilor de creaþie ºi
producþie: un director ajutat de doi adjuncþi responsabili cu pro-
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de preferat cu specialitate de economiºti, un contabil-ºef, un eco-
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buturile regizorilor mai tineri.10 ,RDQ &ĀUPĀ]DQ HO ûQVXîL XQXO
dintre cei care au avut de câºtigat iniþial de pe urma acestui mo-
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de Institut [Facultatea de Film a Institutului de Teatru ºi Film, ac-
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Cinematografiei din noiembrie 1992, imputându-se studiourilor
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pentru regizorii debutanþi jucat de cei consacraþi, catapultaþi la
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9
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Cluj, Tribuna, 2016, p. 66-67.
10
,QWHUYLXFX/DXUHQüLX'DPLDQGLQDSULOLHLQLELGHP, p. 71.
11
,QWHUYLXFX,RDQ&ĀUPĀ]DQGLQPDLLQLELGHP, p. 44.
12
ANIC, fond S.C. ROFILM S.A., dosar 62/1991-1992, vol. II, „Proces verbal. Reuniunea
Consiliului de Administraþie al R.A. CINEROMGLQGDWDGHµI

îL 9DOHULX 'UĀJXîDQX îL SURGXF÷QG ILOPXO OXL 0ĀUJLQHDQX13

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cu denumirea fostului studiou de creaþie al UCIN, Alpha, ce fu-
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filmelor din producþia anului 1991. Cea mai mare parte a acesto-
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studiouri UCIN. Întrucât vechile contracte UCIN nu mai beneficiau
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creaþie ale CINEROMSULQSURWRFRORULSULQFRQWUDFWGHDVRFLHUHGDFĀ
finanþarea era ºi cu bani de la Româniafilm.18
17
ANIC, fond S.C. ROFILM S.A., dosar 62/1991-1992, vol. I, „Proces verbal. Reuniunea
Consiliului de Administraþie al R.A. CINEROM GLQ GDWD GH PDL µ I

18
9RWXOSHQWUXFHUHUHDOXL'DQHOLXFHVWHDOOXL'LQX7ĀQDVHANIC, fond S.C. ROFILM
S.A., dosar 62/1991-1992, vol. I, „Proces verbal. Reuniunea Consiliului de
Administraþie al R.A. CINEROMGLQGDWDGHµI

Sistemul de finanþare al celor cinci studiouri de creaþie este

reglementat de dispoziþia CNC nr. 234/1992. Consiliul de Admi-
nistraþie al CINEROM solicita CNC-ului alocarea unui fond pentru
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finanþare, nu doar a unor acorduri de principiu.19
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regulamentul privind finanþarea filmelor din fondul centralizat al
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1. studiourile de creaþie din cadrul Regiei Autonome CINEROM

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19
ANIC, fond S.C. ROFILM S.A.GRVDU&RUHVSRQGHQüĀ'LUHFWRUJHQHUDOI
42-47.
20
ANIC, fond S.C. ROFILM S.A., dosar 40/1994, vol. I, Regulament privind finanþarea
filmelor din fondul centralizat al Centrului Naþional al Cinematografiei cu nr.
17/21.03.1994, f. 1-2.

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rabile celor predecembriste. Constantin Vaeni, directorul general
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te, mai multe filme de la studiourile de creaþie ale UCIN: Drumul
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]HD]ĀFĀXUPDXVĀILHSUHOXDWHîLDOWHILOPHSUHFXPPunctul zero
ºi Calvarul.23 În cazul filmului de debut al lui Laurenþiu Damian,
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21
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De-aº fi Peter Pan (regia Gheorghe Naghi, scenariul Gabriel Rotaru, 1992) ºi
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la Veneþia. Iertarea XQ ILOP GH &RQVWDQWLQ 9DHQL GXSĀ XQ VFHQDULX GH ,RQ
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23
ANIC, S.C. ROFILM S.A., dosar 79/1992, Raport semestrial CINEROMFĀWUH&HQWUXO
Naþional al Cinematografiei din 10.06.1992, f. 84-89. Punctul zeroûQUHJLDîL
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6WDU)LOPûQFRODERUDUHFXILUPDDPHULFDQĀ.LSHU/DVFX(QWHUWDLQPHQWGLQ
Los Angeles). Calvarul XQ ILOP GH 'LQX 7ĀQDVH FH XUPD VĀ ILH SUHOXDW GH
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CINEROM, anume de Studioul nr. 2 condus de Sergiu Nicolaescu, la
data de 3 iulie 1992.
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WUX SRVLELOLWĀüLOH ILQDQFLDUH DOH CINEROM FDUH ûQ SOXV VXIHUHD îL
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a Consiliului de Administraþie din septembrie 1992, directorul
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posibilitatea de a fi cât de cât independente, producþia de filme
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1. La Studioul de creaþie nr. 1, condus de Mircea Daneliuc, se

DIODXGRXĀSURGXFüLLûQSHULRDGDGHILOPDUHPatul conjugal
ºi 'UDJRVWHîLDSĀFDOGĀ.
2. La Studioul de creaþie nr. 2 se vânduse deja primul film,
Drumul câinilorûQUHJLDOXL/DXUHQüLX'DPLDQ6HSUHJĀWHD
filmul Punctul zeroûQUHJLDOXL6HUJLX1LFRODHVFXGLUHFWR-
rul studioului.
24
ANIC, S.C. ROFILM S.A., dosar 62/1991-1992, vol. I, ªedinþa Consiliului de Adminis-
traþie al R.A. CINEROM din 31.10.1991, f. 39-41.

ANIC, S.C. ROFILM S.A. GRVDU 6LWXDüLD SURGXFüLHL GH ILOPH OD GDWD GH
27.07.992, f. 1-3.
26
ANIC, S.C. ROFILM S.A., dosar 62/1991-1992, vol. II, Proces verbal. Reuniunea Con-
siliului de Administraþie al R.A. CINEROMGLQGDWDVHSWHPEULHI
27
,ELGHPI

3. Directorul adjunct al studioului, Mihai Constantinescu, pre-

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neral al CINEROM.=ĀSDGDHUDFDOGĀûQUHJLDOXL&RQVWDQWLQ
9DHQLVHDIODûQSHULRDGDGHILOPDUH'HODÅ6DKLDµVHSUH-
luase un documentar artistic, urmând a se returna banii
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delegarea de competenþe pentru realizarea unui film cu
titlul provizoriu 9LMHOLDGH(VWûPSUHXQĀFXTV Novi Sad. Se
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ele, 'LVLGHQüLLûQUHJLDOXL1LFRODH0ĀUJLQHDQXODFDUHVH
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contractul cu RADEF.28
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29
Proiect nefinalizat.
30
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GH(YD6÷UEXîL5DGX6WHJĀURLXYH]LîL7LWXV9ûMHXCinema, cinema, cinema –
GLDORJXULFX'DQ3LüD, Bucureºti, Noi Media Print, 2014.

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creaþie ale R.A. CINEROMHUDGRDUGHILOPHSUHGDWHûQFRSLHVWDQ-
GDUG îL IDFWXUDWH SH FHOH GRXĀ VXUVH GH ILQDQüDUH DVLJXUDWH GH
Centrul Naþional al Cinematografiei: subvenþia de la buget ºi
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cinci filme realizate, urmat de Studioul nr. 1, condus de Daneliuc
ºi de Studioul nr 2, condus de Sergiu Nicolaescu, cu câte patru
SHOLFXOH6WXGLRXOQUDUHWUHLILOPHODDFWLYûQWLPSFH6WXGLRXO
QU VH DIOĀ SH XOWLPXO ORF GRDU FX XQ XQ VLQJXU ILOP SURGXV
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lui Constantin Vaeni, =ĀSDGD HUD FDOGĀ, realizat de Studioul de
producþie-film CINEROM.32
Studioul de creaþie ºi producþie nr. 1

TITLU REGIE SCENARIU AN
Patul conjugal Mircea Daneliuc Mircea Daneliuc 1992
'UDJRVWHîLDSĀFDOGĀ Dan Mironescu Cristian Dumitru 1992
/RUHGDQD&ĀOLQD6RUDGL
$FHDVWĀOHKDPLWH Mircea Daneliuc Mircea Daneliuc 1993
1HûQYLQVĀLGUDJRVWHD Mihnea Columbeanu Mihnea Columbeanu 1993

Drumul câinilor Laurenþiu Damian ,RQ/ĀQFUĀQMDQ 1992
/LFHHQLLûQDOHUWĀ 0LUFHD3O÷QJĀX George ªovu 1993
Mihai Opriº
ôQFHSXWXODGHYĀUXOXL33 Sergiu Nicolaescu Ioan Grigorescu 1994
Sergiu Nicolaescu
2JOLQGD Sergiu Nicolaescu Ioan Grigorescu 1994
Sergiu Nicolaescu
31
ANIC, S.C. ROFILM S.A. GRVDU $GUHVĀ 5HJLD $XWRQRPĀ CINEROM FĀWUH
&HQWUXO1DüLRQDODO&LQHPDWRJUDILHLQUI
32
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33
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De-aº fi Peter Pan Gheorghe Naghi Gabriel Rotaru 1992

Timpul liber 9DOHULX'UĀJXîDQX 9DOHULX'UĀJXîDQX 1992
Priveºte înainte cu mânie 1LFRODH0ĀUJLQHDQX 3HWUH6ĀOFXGHDQX 1993
&RSLLVXSHUGRWDüL34 " " 1993
6WXGLRXOGHFUHDüLHîLSURGXFüLHQU
+RWHOGHOX[ Dan Piþa Dan Piþa 1992
6ĀQXQHUĀ]EXQDüL Mihai Constantinescu Mihai Constantinescu 1994
(documentar)
Ultimul mesager Mircea Veroiu Mircea Veroiu 1994
(Somnul insulei) Bujor Nedelcovici
Mica publicitate " " 1994
Pepe ºi Fifi Dan Piþa Ioana Eliad 1994
Dan Piþa
Studioul de Producþie Film CINEROM

=ĀSDGDHUDFDOGĀ Constantin Vaeni ,RQ%ĀLHîX 1994
34
1XDPJĀVLWQLFLXQIHOGHLQIRUPDüLLGHVSUHDFHVWILOP$Y÷QGûQYHGHUHFĀGH
YL]XOVĀXDIRVWGHGHOHLDSUR[LPDWLY USD, conform cursului
valutar mediu din 1993), probabil este vorba de documentarul artistic preluat
GHODÅ6DKLDµODFDUHIDFHUHIHULUH0LKDL&RQVWDQWLQHVFXGLUHFWRUXODGMXQFWDO
6WXGLRXOXLQUûQîHGLQüĀGH C.A. din data de 16 septembrie 1992. ANIC, S.C. ROFILM
S.A.GRVDUYRO,,I

/DIHOFDûQFD]XOSURGXFüLHL&RSLLVXSHUGRWDüL, nici despre acest film nu avem
PDLPXOWHLQIRUPDüLL'HYL]XOVĀXGHGHOHLDSUR[LPDWLY USD,
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Conflictele
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YDWĀîLGHUDYDJLLOHSURYRFDWHGHLQIODüLHFRQWHVWĀULOHGLQH[WHUL-
or ºi orgoliile creatorilor de film aflaþi la conducerea studiourilor
de creaþie CINEROMFRQGXFODFRQIOLFWHGHVHFDUHUHFRQILJXUHD]Ā
SHULRGLF UDSRUWXULOH GH IRUüĀ GLQ LQWHULRUXO 5HJLHL 6FKLPEĀULOH
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director general. În cei cinci ani de funcþionare a Regiei, la con-
ducerea ei s-au perindat regizorii Constantin Vaeni (1991-1992)
îL'LQX7ĀQDVHRSHUDWRUXO)ORULQ0LKĀLOHVFX
îLHFRQRPLVWD*HRUJHWD9ûOFX&X
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provocate de conflictele din interiorul Regiei.
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fi raliat ºi „unii colegi, regizori chiar, unii critici de film, câþiva
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creaþie, conflicte ce vizau accesul prioritar la resursele financi-
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36
ANIC, S.C. ROFILM S.A., dosar 79/1992, Raport semestrial CINEROMFĀWUHSUHîHGLQWHOH
&HQWUXO 1DüLRQDO DO &LQHPDWRJUDILHL ûQ DWHQüLD SUHîHGLQWHOXL 'DQ 3LüD GLQ
10.06.1992, f. 84-89.

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funcþia de director al Centrului Naþional al Cinematografiei, con-
FRPLWHQWFXFHDGHGLUHFWRUDO6WXGLRXOXLGHFUHDüLHQUûQWLPS
ce Sergiu Nicolaescu, un apropiat al preºedintelui statului, Ion
Iliescu, ºi unul dintre personajele-cheie ale Revoluþiei din 1989,
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îL 'DQHOLXF DPELL DX FRQOXFUDW VWU÷QV SHQWUX DîL ûQGHSĀUWD
SRWHQüLDOLLULYDOLODDFFHVXOQHûQJUĀGLWODIRQGXULOHFLQHPDWRJUD-
fiei române.
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lui Constantin Vaeni la ºefia Regiei, operatorul de film Florin
0LKĀLOHVFX ôQ SULPĀYDUD DQXOXL GLUHFWRUXO JHQHUDO DO
CINEROMLQWUĀûQFROL]LXQHFXVWXGLRXOGHFUHDüLHFRQGXVGH'DQ
3LüD SH PDUJLQHD ILQDQüĀULL SURLHFWXOXL Terente. Filmul figurase
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refuzul R.A. Româniafilm, S.C. Studioul Cinematografic Bucureºti
ºi al unor investitori privaþi de a participa la cofinanþarea aces-
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(cca 300 de milioane de lei). Printre altele, se solicita repartiza-
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la filmele Pepe ºi Fifi (regia Dan Piþa) ºi Ultimul mesager (regia
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FĀ D SULPLW DSUREDUHD GH ûQORFXLUH D ILOPXOXL Terente cu filmul
Ultimul mesager.37 În martie 1994, studioul face cunoscut Regiei
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37
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importanþi directori de studiouri de creaþie, anume regizorilor

Sergiu Nicolaescu, Dan Piþa ºi Mircea Daneliuc. Într-un denunþ
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6
'DQD'XPDÅ2UDGRFXPHQWDUXOXLVWULJĀWHîLîRDSWHµ1RXO&LQHPD, nr. 7, 1991:
http ://aarc.ro/articol/ora-documentarului-strigate-si-soapte.

problemelor sociale este Am ales libertatea (1992), realizat de

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daþiei Culturale Române, 2000, p. 400.

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pentru UNICEF, dar ºi pentru alte asociaþii internaþionale.12 Conform
datelor care pot fi consultate online, Sorin Ilieºiu a regizat toa-
te materialele produse de Fundaþie, printre acestea fiind: Petre
Þuþea – Emil Cioran (1991), 0RQDUKLD 6DOYHD]Ā 5RP÷QLD (1992),
Carte-obiect, carte-spirit (1991), 3DODWHUHJDOHGLQ5RP÷QLD (1992),
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ºi prolifici regizori români (este autorul a 11 lungmetraje, la
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realizate sub regimul comunist care au rezistat probei timpului.
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baj cinematografic care i-a inspirat, peste ani, ºi pe unii dintre
reprezentanþii Noului Val.
$GHEXWDWûQFXXQFUHGLELOILOPGHDFWXDOLWDWHCursa. A
continuat cu (GLüLHVSHFLDOĀXQILOPGHHSRFĀSODVDWûQûQ
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(printre care acþiunile legionarilor ºi corupþia), dar pe care Mircea
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acþiune, diminuându-i astfel caracterul propagandistic. O specta-

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lectivizare – este 9÷QĀWRDUHDGHYXOSLGXSĀURPDQXO1LîWHüĀUDQL,
GH'LQX6ĀUDUXDFĀUXLVWUXFWXUĀQDUDWLYĀIUDJPHQWDWĀFRQVWUX-
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propagandei. În Croaziera0LUFHD'DQHOLXFûPELQĀUHDOLVPXOFX
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rii ale puterii comuniste, cu trimiteri directe la cuplul dictatorial.
7RWXQUHDOLVPFXYDOHQüHDOHJRULFHûQW÷OQLPîLûQIacobûQWLPSFH
*OLVVDQGRHVWHILOPXOSDUDEROĀFDUHDOĀWXULGHCroaziera, i-a atras
cineastului cele mai mari probleme cu cenzura.6
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producþie – la alegorie, cu $XQVSUH]HFHDSRUXQFĀ6FULVûQDLQWH
GHILOPDWûQîLDSĀUXWûQ$XQVSUH]HFHDSRUXQFĀ,
doar inspirat de cartea 3DWLPLOHGXSĀ3LWHîWL a lui Paul Goma, este
RSDUDEROĀDQWLWRWDOLWDUĀDSURSLDWĀGH*OLVVDQGRûQVĀIĀUĀLQYHQ-
WLYLWDWHD îL LQFLVLYLWDWHD DFHVWXLD 5ĀIXLDOD FX FRPXQLVPXO HVWH
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$GROI+LWOHU(YD%UDXQ-RVHSK*RHEEHOV-RVHSK%RUPDQQîLDOüL
OLGHULQD]LîWLSHQWUXDLGHVFRSHULîLSHGHSVLSHDGHYĀUDüLLFULPL-
nali. În timpul unui bombardament, mai mulþi astfel de prizonieri
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6
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SRDWHILJĀVLWĀûQ$XUHOLD9DVLOH/HFLQpPDURXPDLQGDQVODSpULRGHFRPPXQLVWH.

Referinþele temporale ºi geografice sunt apoi abandonate, astfel

FĀ $ XQVSUHFH]HD SRUXQFĀ devine viziunea lui Mircea Daneliuc
GHRSRWULYĀDVXSUDVRFLHWĀüLLFRPXQLVWHûQFDUHWUĀLVHS÷QĀDWXQFL
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ORYHîWHGHPDLPXOWHRULXQEĀUEDWFXRKDOFĀPDUHGHFDUQH
$ XUPDW ûQ FXYLQWHOH FULWLFXOXL 9DOHULDQ 6DYD ÅR HFUDQL]D-
UHSDURGLFIXQDPEXOHVFĀDXQXLEDVPGH,RQ&UHDQJĀVXEWLWOXO
propriu Tusea ºi junghiulµGXSĀFDUH0LUFHD'DQHOLXFÅD
IRVWPDLHQHUJLFGDUUHFWLOLQLXîLPRQRFRUGûQHIRUWXOGHUHGUHVD-
re, prin ºarje fantaste asupra faunei umane groteºti a tranziþiei:
Patul conjugal (1993), $FHDVWĀOHKDPLWH (1994), Senatorul melcilor
µ8
$GHYĀUXO H FĀ SULYLQG UHWURVSHFWLY 0LUFHD 'DQHOLXF D IRVW
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mâneºti – deºi au premise narative diferite, ultimele trei filme
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sardonic, mereu atent mai curând la sordidul din jur.
8QLYHUVXOLPDJLQDWûQPatul conjugal este, din perspectiva re-
gizorului, tabloul României aiuritoare tocmai ieºite din comunism,
UHGDWĀûQWUXQILOPIUHQHWLF2OXPHûQFDUHVHüLSĀQHYHURVLPLOGH
7
0DJGD0LKĀLOHVFXÅ$XQVSUH]HFHDSRUXQFĀ²7LFĀORîLîLLQRFHQüL,µViitorul
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ca-ticalosi- si-inocenti-i.
8
Valerian Sava, 2LVWRULHVXELHFWLYĀDWUDQ]LüLHLILOPLFH, vol. 1, p. 27.

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este una a nevrozelor, iar portretul este aproape burlesc.
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mod inedit, de elemente fantastice.
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cilor se doreºte, de asemenea, o radiografie a anilor ’90, ameste-
când mai multe obsesii ale perioadei – de la aderarea la Consiliul
(XURSHLLQYHVWLüLLOHVWUĀLQHîLFOLîHHOHUDVLVWHGHVSUHPLQRULWĀüL
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Un deceniu de neuitat
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SULQ ODQVDUH RILFLDOĀ D FHOHEUXOXL VĀX ILOPDe ce trag clopo-
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centrale.
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ûQJDOHULLOHPLQLHUHRIHUHD/XFLDQ3LQWLOLHîLûQPrea târziu (1996,
VFULVûPSUHXQĀFX5ĀVYDQ3RSHVFXFDUHDUHGHDFHDVWĀGDWĀFD
9
Aurelia Vasile, /HFLQpPDURXPDLQGDQVODSpULRGHFRPPXQLVWH, p. 266.
10
Cristina Corciovescu ºi%XMRU75ûSHDQXCinema... un secol ºi ceva, Bucureºti,
Curtea Veche, 2002, p. 476.

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îLFULPĀ
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la cei trei regizori, este lipsa de interes pentru intimism (care va
ILUHFXSHUDWSDUüLDODELDGH1RXO&LQHPDGHGXSĀ1XH
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mea din jur, cu societatea, cu trecutul, cu politica. Personajele
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de fapte. Tentaþia este cea a temelor mari, a filmului total, a dis-
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DHîHFXOXLDLPSRVLELOLWĀüLLGHDGXFHRYLDüĀRELîQXLWĀ

1990-1994
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CĂTĂLIN OLARU
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VLGHUDUH XUPĀWRDUHOH WLWOXUL Harababura (regia Geo Saizescu),
Miss Litoral (regia Mircea Mureºan) ºi Telefonul (regia Elisabeta
%RVWDQ ODQVDWH ûQ 'LYRUü« GLQ GUDJRVWH (regia Andrei
Blaier), /LFHHQLL5RFN·Q·5ROO (regia Nicolae Corjos) ºi Tusea ºi jun-
ghiul (regia Mircea Daneliuc) din 1992, È pericoloso sporgersi (re-
gia Nae Caranfil) ºi /LFHHQLLûQDOHUWĀUHJLD0LUFHD3O÷QJĀXGLQ
1993, respectiv $GRXDFĀGHUHD&RQVWDQWLQRSROXOXL(regia Mircea
Mureºan) ºi &UXFHDGHSLDWUĀ (regia Andrei Blaier) din 1994. Între

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'LYRUü« GLQ GUDJRVWH, È pericoloso sporgersi ºi &UXFHD GH SLDWUĀ,
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tre umor ºi erotism, elementele de slapstick, umorul generat
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& ÿ7ÿ/,1 2 /$58 • 1990-1994 • 297
Umorul ºi erotismul
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ditate: 'LYRUü« GLQ GUDJRVWH ºi Tusea ºi junghiul. În celelal-
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punde la avansuri. În acelaºi hotel, e cazat ºi un cuplu de tineri
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atât mai stânjenitoare pentru Radu cu cât ocupanþii unei maºini
FDUHûLGHSĀîHîWHûOLURQL]HD]ĀFRSLRVôQ/LFHHQLLûQDOHUWĀ, cuplul
GLQWUHXQW÷QĀUIĀUĀH[SHULHQüĀîLRIDWĀIĀUĀSUHMXGHFĀüLHVWHIRU-
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petarea cu voce tare a tuturor operaþiunilor efectuate.
În $GRXDFĀGHUHD&RQVWDQWLQRSROXOXLSULPDVFHQĀGHQXGLWD-
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unui personaj feminin ºi timiditatea sau rezervele partenerului
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tului nu este de a aþâþa (ºi prin aceasta, a creºte probabilitatea
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nea Costel ºi nea Mielu, care fac feþe-feþe ºi pun pariuri infantil-
lubrice. Câteva minute mai târziu, un cadru panoramic cu fese
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al montajului alternativ, cu aceleaºi prim-planuri cu nea Costel
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logodnica lui.
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Miss LitoralQHD&RVWHOîLQHD0LHOXLQWUĀSHJHDPûQFDPHUDGH
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ûîLYHGHGHDOHHLQHîWLLQGFĀHVSLRQDWĀGUHSWcare Bombonel o

& ÿ7ÿ/,1 2 /$58 • 1990-1994 • 301
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8PRUXOîLVWUĀLQLL
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WXUFL3ORFRQHDODDQJDMDüLORUKRWHOXOXLHGRDUGHIDüDGĀûQUHDOLWD-
te turcii sunt preferaþi pentru calitatea lor de a fi mult mai lesne
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pomeneºte recepþionerul hotelului.
În Miss Litoral 'LGRQD 5RGLFD 3RSHVFX%LWĀQHVFX ûQYDüĀ
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GDUPDLDOHVSHQWUXFĀFLWHîWHFrankfurter Allgemeine Zeitung ºi

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torul concursului de frumuseþe, interpretat de actorul Eusebiu
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seama decât atunci când e prea târziu. De asemenea, naivitatea
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tentativele eºuate ale celor doi de a divorþa, pentru a se asigura
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a personajului principal din Twin PeaksYRUEHVFîL'DQDîL,RQLFĀ

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ricul serialului Twin Peaks. Slapstick JĀVLP îL ûQ $ GRXD FĀGHUH
a Constantinopolului, mai precis, slapstick politic de inspiraþie
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ºi actualitatea temei, iar cei menajaþi nici nu au confirmat, proba-
bil verdictele cronicarilor ar fi mult mai dure.
Chiar ºi privindu-le din anul 2017, multe dintre aceste fil-
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Vezi supra, p. 214.
3
Valerian Sava, 2LVWRULHVXELHFWLYĀDWUDQ]LüLHLILOPLFHYRO3DUDOHOD3LWHîWL
2011.
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romanesc-la-31.12.2014.pdf.
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preluat dintr-un interviu al lui Nae Caranfil cu Ioan-Pavel Azap.

È pericoloso sporgersi,GHEXWXOOXL&DUDQILOûLDUHFRSURGXFĀWRULORFDOLSH)LOPH[
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Pintilie.

66 de filme, 20 sunt debuturi.16 Aproape o treime din producþia

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tru 33 dintre ei (inclusiv debutanþii) e vorba de un singur film. La
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Fundaþiei Culturale Române, 2000, p. 406.

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premierelor.

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un fel de /·DYYHQWXUD din perspectiva fetei care dispare. Fata ia
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peste care mai vine ºi paltonul imens al lui Gheorghe Visu. Or,
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un loc sub soarele unei istorii a cinemaului românesc.
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total pe parcurs).
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convertit la catolicism sau despre vaccinul contra iubirii. Atunci
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filmul devine neinteresant.
27
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28
Vezi ºi acest interviu luat lui Codre de Carmen Dragomir, „Cauza dezastrului
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jurnalul.ro/campaniile-jurnalul/romani-care-mai-au-de-spus-ceva/cauza-
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29
,RDQ3DYHO$]DSÅ'HEXWXULLPSRUWDQWHGLQDQLL·,)ORULQ&RGUHµIstoria
filmului, 16 iulie 2012: http://www.istoriafilmului.ro/articol/132/debuturi
-importante-din-anii-90-i-florin-codre.
30
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31
principale: e comercial, e o producþie ORZEXGJHW ºi, de cele mai multe ori, e

un film de gen. Seria B presupune inevitabil ºi o Serie A, diferenþa cea mai
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32
,RDQ3DYHO$]DSÅ'HEXWXULUDWDWHGLQDQLL·,µIstoria filmului, 4 decembrie
2012: http://www.istoriafilmului.ro/articol/171/debuturi-ratate-din-anii-90-i.

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face parte din ambele universuri. Cu atât mai stranie prezenþa lui
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1990, sub titlul dat iniþial.
34
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si-mi-pare-rau.-un-debut-o-speranta-jon-gostin, ºi &ĀOLQ &ĀOLPDQ Istoria
filmului românesc (1897-2010), p. 408-409.
36
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tentic liric.
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la semnificaþii.

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Daneliuc prizonierul
ANDREI GORZO
P entru mulþi comentatori, Revoluþia din decembrie 1989 taie

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Daneliuc): „Mircea Daneliuc este unul dintre regizorii români de film pe care i-a
QĀXFLWWUDQ]LüLDSRVW·µÅ0LUFHD'DQHOLXFIDüĀFXnoul valµ/LWHU1HW, aprilie 2009:
http://agenda.liternet.ro/articol/8897/Marian-Radulescu/Mircea-Daneliuc

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A NDREI G ORZO • Daneliuc prizonierul • 363
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cursul oficial al puterii ceauºiste.
În ceea ce priveºte nonconformismul lui, legendarele lupte
ale lui Daneliuc cu cenzura au fost amplu documentate.4 Dar e su-
ficient de privit filmul Croaziera, XQGHRVWLOLWDWHDDXWRUXOXLIDüĀGH
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$OH[DQGUX3HWULDConvorbiri cu Mircea DaneliucS

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$OH[DQGUX3HWULDConvorbiri cu Mircea DaneliucS
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Mircea Daneliuc, 3LVLFDUXSWĀ, p. 407.
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$OH[DQGUX3HWULDConvorbiri cu Mircea Daneliuc, p. 43.
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Mircea Daneliuc, 3LVLFDUXSWĀ, p. 412.

,ELGHP, p. 210.
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soþul ei (pedofilul belgian) sunt de un comercialism cras, sordid,
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filmului românesc – TIFFµRevista 22LXQLHSUHOXDWGH/LWHU1HW,
iunie 2008: http://agenda.liternet.ro/articol/7214/Laurentiu-Bratan/Zilele-
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despre Daneliuc din Dicþionar subiectiv al realizatorilor filmului românesc:
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operei cinematografice târzii a lui Daneliuc, vezi capitolul intitulat „Non-
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Polirom, 2009, p. 79-82.

Autorii
ALEX CISTELECAN (n. 1979). A studiat filosofia la Universitatea

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de ªtiinþe ºi Litere. Redactor al revistei Vatra ºi coordona-
tor al platformei CriticAtac. A publicat Viaþa ca film porno.
Protocoalele Lacan (Aula, 2007) ºi a coordonat volumele co-
lective :URQJLQJ5LJKWV3KLORVRSKLFDO&KDOOHQJHVIRU+XPDQ
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ºi Plante exotice. Teoria ºi practica marxiºtilor români (Tact,
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Comunicare ºi Relaþii Publice din cadrul ªcolii Naþionale
de Studii Politice ºi Administrative (2006) ºi a Secþiei de
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filosofia istoriei, teoria filmului ºi teoriile asupra imaginii.

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Phaenomenologica XVI: )LOP DQG 3KHQRPHQRORJ\ (2016).
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noul film românesc7DFW6HKHQ$OVREbVWKHWLNXQG
3UDJPDWLNLQ+XVVHUOV%LOGOHKUH (Bautz, 2016). A publicat nu-
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2009-2016 a fost redactor al revistei Film Menu. În ultimii ani
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MIHAI FULGER (n. 1978). A studiat la Facultatea de Litere

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Observator cultural. A publicat volumul de interviuri Å1RXO
YDOµ ûQ FLQHPDWRJUDILD URP÷QHDVFĀ (Art, 2006). Este mem-
bru al Asociaþiei Criticilor de Film (UCIN) ºi al Federaþiei
Internaþionale a Criticilor de Film (FIPRESCI). Activ din 2012
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este acum directorul acestei instituþii. Din 2013 este redac-
tor al revistei Film. Face parte din Consiliul de Administraþie
al Centrului Naþional al Cinematografiei.
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tografului ºi a ideilor despre cinema la UNATC, la Centrul de
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ûQ SHULRDGD VHSWHPEULH LDQXDULH FD EHQHILFLDU

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interpretarea cinemaului românesc contemporan 7DFW
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competiþiilor de scurtmetraje ale festivalului Anonimul de la
Sfântu Gheorghe. A publicat lucrarea „2VORDXJXVWµXQ
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D 8QLYHUVLWĀüLL Å2YLGLXVµ GLQ &RQVWDQüD îL FHUFHWĀWRU OD
,QVWLWXWXO Å* &ĀOLQHVFXµ al Academiei Române. A absolvit
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turii &DUWHD 5RP÷QHDVFĀ Mormântul comunismului
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(IBU Publishing, 2011), 2WULEXQĀFDSWLYDQWĀ7HOHYL]LXQHLGH-
RORJLH VRFLHWDWH ûQ 5RP÷QLD VRFLDOLVWĀ (Curtea
Veche, 2013), 5RODQG%DUWKHVPLWRORJLLURP÷QHîWL (Art, 2017).
&ÿ7ÿ/,12/$58 (n. 1981). Este critic de film ºi director artistic

DO 'LYDQ )LOP )HVWLYDO îL +LS7ULS 7UDYHO )LOP )HVWLYDO 'LQ
SXEOLFĀûQUHYLVWHOHCultura, FILM ºi Kamikaze, precum
ºi pe platforma %ORJXULOH$GHYĀUXO ºi postmodern.ro. Din de-
cembrie 2013 este membru al Asociaþiei Criticilor de Film
(UCIN) ºi al Federaþiei Internaþionale a Criticilor de Film
(FIPRESCI). A fost colaborator al programelor de educaþie cine-
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R WH]Ā GHVSUH GRFXPHQWDUXO URP÷QHVF GLQ SHULRDGD DQLORU
$VFULVDUWLFROHîLFURQLFLSHQWUXFilm Menu, co-
laborând ºi cu alte publicaþii: Observator cultural, Film, AaRC,
$FRSHULîXOGH6WLFOĀ ºi Istoria filmului.
IULIA POPOVICI (n. 1979). Critic ºi curator de arte performative.

,QWHUHVHOHHLVHûQGUHDSWĀVSUHVFHQDDOWHUQDWLYĀGHDUWHSHU-
formative din România ºi Europa de Est, practici documen-
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porane. A editat antologiile 1HZ3HUIRUPLQJ$UWV3UDFWLFHVLQ
(DVWHUQ(XURSH1RLSUDFWLFLûQDUWHOHVSHFWDFROXOXLGLQ(XURSD
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regiei, începutul creaþiei colective în teatrul european (Tact,
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Autorii • 383
*KLGGHVSUHWHDWUXOLQGHSHQGHQWGLQ5RP÷QLD (ColectivA-Idea
Design & Print, 2016).
COSTI ROGOZANU (n. 1977). A studiat la Facultatea de Litere a

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coordonator al platformei CriticAtac. A publicat volumele de
FULWLFĀ$JUHVLXQLGLJUHVLXQL (Polirom, 2006) ºi &DUWHGHPXQ-
FĀ7DFWSUHFXPîLYROXPXOGHSUR]ĀVFXUWĀFuck the
cool. Spune-mi o poveste (Polirom, 2007). Coordonator al vo-
lumelor colective Iluzia anticomunismului. Lecturi critice ale
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Ernu, Ciprian ªiulea ºi Ovidiu Þichindeleanu) ºi Epoca
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cu Florin Poenaru).
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nalism de film la festivalurile de la Veneþia ºi Cannes. A
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*÷QGXO, Film Menu, Film, ,QGLHZLUH, Republica, Istoria fil-
mului. Din 2016 este redactor la emisiunea TV Ca-n filme
(Digi24).
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eseuri mai ample referitoare la istoria filmului românesc sau
la istoria genurilor cinematografice. Coordonator al unui vo-
lum tematic al publicaþiei universitare Caietele Echinox, inti-
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Domeniile sale de interes sunt romanul ºi cinematografia

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ca noului cinema românesc. A susþinut prelegeri ºi work-
VKRSXUL OD &ROXPELD 8QLYHVLW\ îL &LW\ 8QLYHUVLW\ RI 1HZ
<RUN SUA), Universitatea Granada (Spania), Universitatea
Linnaeus (Suedia). Este redactor al revistei Ekphrasis –
,PDJHV &LQHPD 7KHRU\ 0HGLD $ SXEOLFDW HVHXUL ûQ UHYLV-
tele Observator cultural, Vatra, Cultura, 22, Timpul. Autor al
volumelor (VWHWLFDOXL1RUPDQ0DQHD&DUWHD5RP÷QHDVFĀ
WUDGXVûQOLPEDHQJOH]ĀûQîLÎmpotriva memoriei
(Eikon, 2017).

Cuprins
$UJXPHQW$QGUHL*RU]RĳL*DEULHOD)LOLSSL .....................................
PARTEA ÎNTÂI. IDEOLOGII ........................................................ 9

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ûQSHULRDGDFRPXQLVWĀ*DEULHOD)LOLSSL .......................................... 11
Autorul colectiv (Costi Rogozanu) ....................................................... 47
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Istorie ºi conºtiinþã de clasã medie
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Å'HPXOWYUHDXVĀWHIXWµ6H[XOIHPHLORU
îLSXWHUHDEĀUEDüLORUûQILOPXOGHWUDQ]LüLH,XOLD3RSRYLFL) .......... 133
$QWLFRPXQLVP²UHüHWDQRDVWUĀVHFUHWĀ
)LOPHOHDQLORU·&ODXGLX7XUFXĳ)...................................................
0HPRULDOXOGXUHULLLVWRULDFDPDQLKHLVP$OH[DQGUX0DWHL) ...... 171
PARTEA A DOUA. INSTITUÞII ............................................................

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ûQDQLL·"5DGX7RGHULFL) ................................................................. 187
'HODFXUDWRULDWODFDQRQûQFLQHPDWRJUDILDURP÷QHDVFĀ
a anilor ’90 (Mihai Fulger) .................................................................. 219

Avatarurile cinematografiei de tranziþie.
Studiu de caz R.A. CINEROM%RJGDQ-LWHD) .......................................... 241
8QGHDGLVSĀUXWGRFXPHQWDUXO
URP÷QHVFûQDQLL·"$QGUD3HWUHVFX) ...........................................
PARTEA A TREIA. STILISTICI.............................................................279

(VWHWLFDGLVSHUĀULL,RQXĵ0DUHĳ)........................................................281
1990-1994. Primul cincinal
GHFRPHGLHURP÷QĀOLEHUĀ&ĀWĀOLQ2ODUX) .......................................
Deconstructing Nae. Fragmente pentru o istorie
DILOPXOXLFRPLFûQWUDQ]LüLH&KULVWLDQ)HUHQF])ODW]) ................. 313
'HEXWXULUHEXWXULîLUHFRQVLGHUĀUL
7UHLILOPHGLQDQLL·FLWLWHûQ$QGUHLĲHQGUHD) .................337
Daneliuc prizonierul (Andrei Gorzo)................................................. 361
Autorii ......................................................................................................379

&ROHFĵLD
CINEMAG
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Gilles Deleuze – &LQHPD,PDJLQHDPLĳFDUH
Gilles Deleuze – Cinema 2. Imaginea-timp
Andrei Gorzo, Andrei State (coord.) – Politicile filmului.
&RQWULEXĵLLODLQWHUSUHWDUHDFLQHPDXOXLURP÷QHVFFRQWHPSRUDQ
Christian Ferencz-Flatz – Incursiuni fenomenologice
în noul film românesc
Andrei Gorzo – ,PDJLQLûQFDGUDWHûQLVWRULH
6HFROXOOXL0LNOyV-DQFVy
Andrei Gorzo, Gabriela Filippi (coord.) – Filmul tranziþiei.
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Coperta: Imagine TACT
Redactor: Veronica Lazăr
Corector: Virgil Leon
Tehnoredactor: Cosmina Varga
Editura TACT, Str. Cometei, nr. 5, et. 3, Cluj-Napoca

Tel./fax: 0264-450129, www.edituratact.ro

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Gorzo si Filippi.indd 1 11/10/2017 4:55:52 PM

Gorzo si Filippi.indd 3 11/10/2017 4:55:53 PM

Gorzo si Filippi.indd 4 11/10/2017 4:55:53 PM

V ROXPXOGHIDüĀDIRVWJ÷QGLWFDXQIHOGHprequel la Politicile filmului.

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Gorzo si Filippi.indd 6 11/10/2017 4:55:53 PM

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Gorzo si Filippi.indd 18 11/10/2017 4:55:53 PM

1983 ºi apoi retras imediat din cinematografe.10 Intervenþia lui

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Noul limbaj de lemn

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pregnant de la un film la altul – un subiect consistent pentru cei

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