4 months, 3 Weeks and 2 Days (2007)
Director: Christian Mungiu
Christian Mungiu is one of Romania’s most acclaimed filmmakers and part of the Romanian New Wave of Cinema. This cinematographic movement started in the middle of the 2000’s, generating an international interest in Romanian cinema. Its appearance dates back to a trilogy of essential films, all of them have been acclaimed worldwide: Cristi Puiu’s The Death of Mr. Lazarescu (2005), Corneliu Porumboiu’s 12:08 East of Bucharest (2006), and Christian Mungiu’s 4 Months, 3 Weeks and 2 Days (2007). This trio of filmmakers are considered the founders of the movement. In aesthetic and thematic terms, this films share an austere, realistic, minimalist and complex atmosphere. Many of them are set at the end of the 80’s, very close to the end of the totalitarian government of Nicolae Ceaușescu on communist Romania. The films explore themes such as freedom, resistance and stoicism. Others, however, are set in modern Romania, exploring themes such as the transition to democracy and free-market capitalism that has shaped Romanian society in recent years.
The universe of 4 Months, 3 Weeks and 2 Days directly introduces us to the dark and oppressive atmosphere of the last years of Ceaușescu’s dictatorship. He established a rationalization of all kinds of products: milk, eggs, water, light, etc. , and a black market for these products soon appeared. In addition, the regime prohibited abortion, which is why clandestine abortions increased disproportionately. The Romanian law that criminalized abortion was active between 1966 and 1989, and abortion became a kind of rebellion against the political regime. Until abortion was decriminalized, around 500,000 women had died as victims of clandestine interruptions of their gestation.
The film focuses on the story of two women; Otilia (Anamaria Marinca) and her friend Găbița (Laura Vasiliu), both share a room inside a rough and dark student residence in Bucharest. Initially, a sequence shot of the messy room opens widely; this scene gives us an overview of the shades and nuances of the film, and it also makes us pay close attention to the things that are happening around the environment. At the bottom of the room we find a closed window, and behind the glass we observe the snow falling.
Găbița seems to be immersed in her preparations for a trip. Meanwhile, Otilia visits other rooms of the residence, in search of tobacco and soap, looks for some powdered milk to give it to another friend who takes care of two orphaned cats. Simple details become a balm to minimize the pain of reality.
With the absence of music to set a mood, director Mungiu writes words instead of exposition, he doesn’t explain what is happening or why. It takes time to find the meaning in the words and the pauses between them. This style forces us to scrutinize through naturalistic conversations. Soon, both friends are going to start a heartbreaking journey, a brutal experience that will leave an indelible mark on their lives. Găbița is pregnant, and she has decided to have a clandestine abortion. In turn, Otilia has decided to fully involve herself in the protection of her friend. Otilia will be in charge of setting the stage and solving the difficulties: she will raise money, rent a hotel room, and cheat on police officers, guards, and even on her own boyfriend. She will also be in charge of contacting Mr. Bebe (Vlad Ivanov), the alleged abortionist who will carry out the surgical procedure.
The decaying state of Communist Romania is masterfully depicted in one scene revolving around the family dinner party for Otilia’s boyfriend’s mother. This is a long, statically-framed and detailed scene, it oscillates through a whole spectrum of conflicting emotions, becoming crucial and insightful at the same time. By the end of it, we feel almost drained from our senses, emotionally exhausted.
4 Months, 3 Weeks and 2 Days is not against or in favor of abortion, what director Mungiu offers is an extremely realistic view of clandestine abortion and its consequences. The cinematic experience is a painfully sad mirror of the emotions behind both protagonists: agony, frustration, anger and desolation. Insightful and realistic, the movie maintains a slow rhythm which goes hand in hand with the weight of the narration. Everything here challenges the viewer, makes him feel and think- the whole filmic universe demonstrates the personal and political challenges of hasty decisions driven by anxiety. The true horror can be of our own making, both individually and by the environment that surrounds us.
by Octavio Carbajal González
I must say I know very little about Romanian cinema. But after reading this review, will definitely seek this one out. Thank you!
Thank you for taking the time to read, Serge.
If you end up liking this one, you´ll soon become an avid follower of Romanian cinema.
Thank-you for such an eloquently written review. Really enjoyed reading all the detailed observations and meanings without giving away too much. I look forward to reading more of your reviews.
In my opinion abortion is a topic that gets discussed too passionately on both sides, so I’m curios to watch this, and hope learn about the Caucescu regime. But abortion as political protest doesn’t seem the healthiest of ideas to me. Still curios.
Yes, abortion is one of the “incendiary topics”. Same thing happens with politics or religion, some people are too extremist/passionate on both sides. Curiosity is a good symptom, it indicates that you got interested…
Enjoy the deranged experience. Thanks, Jael.
This is a new film to me Octavio. I’m learning to trust your recommendations more and more. Bringing people something new is a special gift. Films require a commitment and you have an eye for seeing below the surface and finding those layers. So I will take that deep of faith. Writing film reviews is difficult. So much that needs to be pulled together. I appreciate that you make it look so effortless. And you never lose the passion for that art of the cinema.
Thanks for the endless support and encouragement, Shawn. More than anyone, you know what it feels to bring something new. I love to break down the film plots, analyze the behavior of the protagonists and their relationship with the environment. Film will always be my favorite expression of art.
It costs me much more effort and trouble to talk about music, especially abstract genres.
That’s why I admire your way of transmitting these complex styles to the world. You make it look easy and effortless, too. I love music, but I only talk about it on special occasions (anniversaries, tributes).
This is the power of Vinyl Writers, each author writes on their own specific strengths, and it all reflects on the final results. If it wasn’t for VW, I would’ve never discovered genres like “Arabesk” or the complex albums that you usually write about.
Hope that this film/review helps you to get into Romanian cinema, they are real talents.
Octavio,
Even though I’ve seen thousands of films throughout the years, I haven’t seen any Romanian films yet. Sounds like a stark film. This is also one of the Palme d’Or winners I’ve not yet seen.
Go ahead and give it a try, Mark. You’re one of the few people that appreciate this specific kind of challenging films. I felt deeply moved and shocked by this one, the experience got me engaged into Romanian cinema. All these directors share a very distinctive stamp, they know how to create admirable and powerful low-key movies.
This film belongs to “The Criterion Collection” and it obtained the maximum prize at Cannes-that says a lot about it’s reputation. Anyway, thanks for your comment.
I haven’t seen this, Octavio. I also remember reading about it the year it came out, I even downloaded it on BitTorrent (lol)- back when it took two days to download a film only to get a shitty quality – and burned myself a CD of it, without ever watching it.
“Romanian abortion drama” for me sounds like the pinnacle of excruciating sparseness. Now, if this film is also synchronized in the good old communist tradition with only one monotonous and harsh Eastern European speaker for all roles, then it’s a candidate for my masochistic hours.
Racist jokes aside, I know almost nothing about Romanian cinema and will explore the names and films you mentioned in your review. You’re a great source for these things with your knowledge and holistic approach! Gracias
I almost forgot about those BitTorrents, they were extremely popular. I understand, this is the kind of movie that you keep postponing until you finally decide to watch it. It’s definitely a candidate for those hours.
Now, very seriously- this is the darkest and most authentic portrayal of abortion that I’ve ever seen on screen.
The story conveys a very uncomfortable and paralyzing type of fear. The lack of freedom combines with the limits of dramatic tension. This is the fear of any gaze, of any fatal carelessness, the fear that suffocates you..
The camera in hand reminded me of “Dogma 95” style (Von Trier, Vinterberg), this special resource alternates with fixed shots. It all creates an authentic feeling of uneasiness- a glimpse to Michael Haneke’s filmmaking.
Romanian cinema is really interesting, this movie was my first step for getting into it. Warning- the film is not easy to watch.. tough but very rewarding experience.
This is extremely admirable low-key filmmaking, very serious and unique experience, I’ll never forget it..
It’s not a topic I would usually be interested in, but I trust your recommendations and will give this a try. I remember this being in the Best-of lists that year, but I didn’t know that it won Cannes. Thanks again for the recommendation 👍
Thanks for following my recommendations, Cristiano. I truly appreciate it.
This is a tough and challenging film, it moves away from all kinds of preconceived ideas.
If you click with the movie inside the first hour, there’s no going back… I felt deeply moved, shocked and even traumatized by the authenticity of the scenes. Mungiu knew how to handle and portray this serious and extremely controversial topic.