A long time ago, in the underground realm, where there is no lies or pain, there lived a Princess who dreamed of the human world…
A long time ago, in the underground realm, where there is no lies or pain, there lived a Princess who dreamed of the human world…
I was a volunteer. It wasn’t the first time, it won’t be the last time. It is, though, the first time I felt the need to write about it and share it on the internet to be seen. I like writing, as you know, or as you just found out. I write about a lot of things, mostly about films, because… I love films, but this is the first time I’m writing about theatre; effervescent, daring, unapologetic, engrossing contemporary theatre. And I will do it from the position of a spectator, a bit more than a spectator maybe, who tried to keep their eyes as open as they could, even though sometimes it became suffocating.
BE FEST was a feast, at least for the brain if you didn’t have a ticket that included dinner. Intercultural, interdisciplinary, interpersonal, inter whatever you want. I guess it depends on the eyes, you do remember that fancy tumblrish quote “beauty is in the eye of the beholder”, right? But I do not think that BE FESTIVAL was about beauty, but about feeling, about keeping you on your toes, about breading slowly, about carefully holding a (possibly) criminal hand, about kissing cautiously, about stripping bodies and souls, and about hearing more Spanish in a week than you might in a whole year.
The atmosphere was vibrant, the staff was welcoming and warm, the volunteers *cough* amazing *cough*, the hub was funky and the main stage/ dinner hall dreamy but the shows… the shows weren’t comfortable, and they weren’t supposed to be. If we want beauty we look at Botticelli, if we want entertainment we watch Conan, if we want tear-jerking love stories The Notebook does the trick, if we want something else, some different thrills than what The World Cup promises to offer, then we might want to try a contemporary theatre/dance/performance festival like BE FESTIVAL.
It’s never easy to talk about intimacy because we constantly run from it, it’s even harder to bring intimacy, money and sex in the same equation on a stage, before the eyes of a public. It’s always a fuss talking about what on earth is art nowadays when everything can be and nothing is. It is not easy to look at a naked body without objectifying it, sexualizing it or judging it, even though there is nothing sexual about the naked form of being. It is even harder to allow others to see us completely naked. It isn’t pleasant to accept that we are not our social media image, even though we know it. It is not comfortable to watch violence on a stage even though we allow it all around us. We mock the goldfish which’s attention span is 10 seconds (or was it 9?), but we couldn’t wait to see the sign for more content, more noise, more entertainment. We laugh while wasting food. We avoid seeing the consequences that politics, borders, stereotypes and social animosity have on our souls, while we smile enjoying a glass of wine on Instagram. It is easier to watch a show from the shelter of a random seat than stepping on the stage, but it might become appealing with a little financial push. It is never easy to speak the truth. It’s never easy to accept it.
And BE FEST offers you all of these and an UBU and you take what you want or what you need from it (or what you can accept or understand). It’s different for everyone. And it’s meant to be. Because we are individuals, in our own Cave, stuck in our own trap with a chain longer than our lives.
There was blood, and there was water. There were shouts, and there were tears. There was music, and there was silence. There was dance, and there was violence. There were excruciating screams, and there were sincere laughs. There were fear and shock, and there was excitement. There was harsh irony, and there was tenderness. There was nakedness, and there was sex. There was calm, and there was nausea. There was purity, and there was guilt. There were lights and then there was darkness. There were truth and emotions for everyone.
And never forget, someone loves you, drive with care.
P.S. Contemporary dancers use words.
Facebook Page: https://www.facebook.com/deturlapreciziei/
Twitter account: https://twitter.com/detur_Preciziei
detur la Preciziei grew unexpectedly in the past month. The Facebook page has 135 followers, to which are added the 11 twitter followers and 15 website subscribers. The reason why, from the three, the Facebook Page is the most followed one is that Romanians don’t use twitter, so Facebook is more accessible.
It has 15 posts, at least one in each category and every post has at least 5 likes on Facebook and 2 shares, 2 of them even have comments and a reach that goes from 74 to 854. The website has around 30-40 views per day, with a maximum of 245 and a minimum of 15. The viewers are mostly from Romania and the United Kingdom, but, in a smaller number, there have been registered viewers from all around the world.
Plans to extend: now that the content of the website is starting to take a shape, I will start sending it to people in the industry and other international film/culture websites. Messages have already been sent to Tudor Giurgiu (Romanian director and director of the Transylvanian International Film Festival) and to http://gorillafilmonline.com/ . Waiting for their answers.
“Interviews’ seems to be the most viewed category, and the periodical public interviews dynamise the content and attract readers. Furthermore, I already started writing reviews for the films which are mentioned as favourites in the interviews (e.g. Love Building, Illegitimate). For the time being the questions (for the public’s interviews) were somewhat introductory, not to scare the interviewees off, but also to set a basis for detailed and more thorough questions.
Plans: Anamaria Antoci proposed to contact other people in the industry, who she worked with, from our part. The cinema manager interview is pending, and I plan to continue the series of public interviews – 2 a month.
On the website, there is already a review written by someone else but I, and I have been announced that another article will be sent soon.
Plans: To find at least one co-writer. I might have found one, but I am waiting for her article first, and then there is the prospect of another writer joining in the next 2 months after he finishes his current projects. They are both Romanians, but from different parts of Romania and with a different background.
Must: Find a dedicated and professional translator, to translate articles sent to us and proofread the content on the website (I already have a proofreader for the content in Romanian)
Articles, there is only one article published and another one ready to go out. The articles are meant to deal with different issues or aspects which cannot be discussed through reviews and interviews. I started with an introductory one, in which I tried to identify the principal reasons why Romanians dislike Romanian films. The article started a dialogue on Facebook.
Future article ideas: The phenomenon of the inverted world in Glissando, Lux Hotel and Somewhere at Palilula, and its recurrence; The change in the film’s aesthetic – the return to naturalism and brute realism; Metaphors and cryptic messages in the films before 1989 etc. – 2 articles per month
As the promotion part is going well, the posting on social media will continue on a similar pace + open questions for the followers to answer and, hopefully, to create a larger dialogue.
The hardest part of running detur la Preciziei was the constant writing pace, the frequency of published posts. I have learnt that things do not go as planned, and there always needs to be a plan B post ready to be published, especially in the case of interviews. I have dealt with delays, which ruined my schedule because a delay causes another. I learnt to send the questions a week in advance, and even that wasn’t enough in some cases. The public interviews were the most challenging, people forget, or they don’t answer, initial lists of interviewees are changed on the way, some answer with yes or no to questions that cannot be answered with yes or no. The participants need to be diverse, age, occupation, gender wise, so maintaining equilibrium and hitting a deadline hardly go together. More stressing than the writing itself was translating everything, which was just as time-consuming, to which were added all the translation technical malfunctions, until I found the best way to make the website bilingual.
Fears and expectations: Romanian film is either an uninteresting subject (I quote “you’re promoting something that doesn’t exist”) or a sensible one. Exposure was my biggest fear, still is, how people will react to my texts because some of them react pretty violent to the film itself. For now, the website seems to be followed only by people who have a certain interest in film or want to learn something/more about Romanian films. As for expectations, they have been exceeded. There seem to be a few devoted readers (except for my mum). As usually, I did not have any kind of expectations, but people started liking the Facebook page from the first day, and the number grew fast, also they were open about participating in the interviews and excited after they were published.
Little joys: first “heart” on Facebook, first comment on Facebook, the 30 likes that came with the interview with Paul Stefanescu, first review written by someone else, seeing the logo, people from the public being happy and thanking me after they saw their answers included in the final text.
Ending note: It all started with a foggy idea of doing/writing something about Romanian film. It ended being a website, because the virtual content is the most accessible one and I want to write for the large public, not for elites, or at least not only. I believe in the importance and value of an informal, easy written text, style wise, but with a solid knowledge behind it, that is accessible and can be read and more importantly understood by anyone, anywhere. Through my website, I want to raise awareness about Romanian cinema and to make people curious to watch Romanian films.
I have been asked in the beginning if I wanted it to be only a final MA project or a personal project that will continue even after submission. My answer was, a shy, even sceptic one, that I would like it to continue. Now, a day before the submission, I know that I cannot put an end to detur la Preciziei exactly when in starts to grow, it would be cruel, and all my work would be in vain. There has been too much work put into it, there are too many plans, and are already a few readers that I cannot disappoint, but mostly, I cannot disappoint myself by giving up a project that is so close to my heart, my passions, my identity and has also the potential of becoming internationally known one day.
Bibliography for Romanian cinema contemporary or less contemporary is limited, at the least. And trying to study Romanian film in the United Kingdom wasn’t exactly the smartest decision I could’ve taken. But, one of the reasons for starting this website was exactly the reduced number of textual materials on Romanian film and the fact that they aren’t accessible, being mostly in Romanian and in Romanian libraries or antique book stores. Therefore, most of my research was based on reading the few materials that I had access to, but mostly watching interviews with actors, directors, producers, read mostly all of the film reviews from critics or cineastes for the films that I focused on, and go through “piles” of comments from the public.
Considering that the project was born from my interest in the relation between the Romanian public and its film, reading people’s comments on different films, helped me shape an idea about the reasons behind the like or dislike (mostly dislike) of Romanian films. Also, the interviews, the ones with the public mostly, served the same purpose. The outcome from this type of research was identifying what the public doesn’t like, and why and using this knowledge to write detur la Preciziei’s content as to explain why the films are the way they are, and why they deserve to be watched. It was mostly being “in touch” with the public that helped me find my tone and style.
Why doesn’t Romanian public like Romanian films?
From reading different reviews, I identified what might work, what works, but I want to avoid, what doesn’t work at all.
What might work: a friendly tone, a relaxed language, with just enough references, but not too many, a focus on aspects in the story and characters that are deeply human, and how are those integrated into the film’s context.
What definitely works, but I’ll avoid it: there is a certain degree of anger in some of the most read film reviews, a sort of “violent” tone, and an inclination to criticize the result, or certain aspects of with, just for the sake of criticism.
Romanian film websites:
http://aarc.ro/ – not all their articles are translated in English even though the website has that option
http://romfilmdevelopment.org/en/news/ – only 4 film reviews
http://cinepub.ro/site/ – a website with Romanian films, a film library, so it’s probably the best (legal) source for free Romanian films
What will my website bring new?
Firstly, being only 2 Romanian film websites, it cannot be said that the area is “over populated”. Detur la Preciziei won’t be better or worse than those, but it has a slightly different approach. It is a bit more focused on films than the industry as a whole:
A challenging task. I either know good writers, but who are not interested in film, or people interested in film, but not Romanian film. Hopefully, someone will eventually come forward, after making the official announcement on the website and sharing the post on Twitter and Facebook (website’s page, personal page, and a few groups).
P.S. I received a film review, of an old film (unexpectedly old film), but as the initial plan was to have reviews of new films in parallel with older films, the review will soon be published. Plus, it is very well written and the film might just be a forgotten gem.
P.P.S. I might have found a co-writer, but our collaboration will only start in a few weeks as he is busy with another project at the moment.
The first encounter with criticism, constructive criticism I would say, even though I do not totally agree with it, or maybe I don’t agree at all, but it is nevertheless a different perspective. I thought the website was going pretty well, considering its only 2 weeks old and the subject, Romanian film, is either unknown for many, or something not of much interest. Romanians as I have said, avoid Romanian films because they are not commercial enough (they aren’t commercial at all – most of them). This criticism came from someone who was talking exactly about this aspect, highlighting that the Facebook page has only 92 followers. And that is because the subject isn’t interesting enough, or sellable enough. Maybe it isn’t. That virtual “starlets” have so many more followers than detur la Preciziei, oh, of course, they have! But then again, detur la Preciziei doesn’t post gossip, or photos of food, or pictures from the gym, or glamorous outfits, it’s a film website. And not even a Hollywoodian film website… how unfortunate.
I will generically name this individual M.
I quote M. “Why does Game of Thrones sale? – because of violence, sex, and special effects” I couldn’t agree more, but then again, Game of Thrones is an HBO TV series, made to sell, Romanian films are nothing like it, and never wanted to be. It’s not that Romanian directors wouldn’t want to bring the public to the cinema halls (the few that still exist), but they have something different to say, they had something to prove at some point, or not exactly prove, but actually wanted to change something in Romanian’s penurious film scene. I’d also say that the reason that TV shows or films like Game of Thrones (and I am a fan of Game of Thrones, exactly for its entertaining quality) are popular, sell, bring the public to the cinema is that they are American or Americanized, because they invaded the mass conscience and Hollywood became almost synonym with film, which is kind of tragic, from my point of view.
M. also said that the articles are too… restrained, too dry; they don’t shock (but then the films’ subjects don’t usually shock, at least not like a Tarantino film, or a Fincher film) or entertaining enough, maybe M.’s right, I will have a look at my older articles, reread them, they might not be catchy enough. I don’t want the style to be rigid, and dull, but pleasant and easy to read. Anyway, M’s suggestion was to write a pamphlet, which is an interesting one to take into consideration, but such a writing implies to have as a subject something of arguable quality, of better, said something of poor quality, which is what I tried to avoid when choosing the films. M’s argument was that mockery attracts, at least when referring to the Romanian public, and I agree, but by mocking something means putting myself higher than that exact film or film-maker, which I cannot do, and I don’t want to either. And if we’re talking about a bad film… then even bad publicity is good publicity and I wouldn’t want to make any kind of publicity to some cinematographic production that should have never hit the screen, but now, if they did, they should be better left forgotten. What I did, though, was to raise a challenge for M. to write a pamphlet review for a film of his choice, if the text convinces me, I’ll edit it, publish it on the website and see how it goes if M. was right and the followers’ number will grow.
M. also gave an example of a film, Aferim!, which I have yet to see, and said I should write something about it, that it would attract more readers. The film is a “hit” of the last 2 years (at least in Romania), it is a “historic” film, and can’t aesthetically be integrated into the New Romanian Wave, so I understand the attraction. Comparing it to the slices of life that the rest of the films are (or perceived to be), Aferim! might just be more a commercial film (but only a bit), with an entertaining story, set in Romania and “good” visuals (but I can’t state that as a certainty yet). I have just added it to my film list (and review list).
All in all, even though I might not follow M.’s suggestions, the dialogue was beneficial to reinforce my beliefs that detur la Preciziei shouldn’t lower its standards, but maybe the articles could be written in a slightly “friendlier” manner. That the films brought into discussion should still be good films, because its purpose is not to mock, or make funny (entertaining) and malicious comments on bad films, but to talk about the ones that deserved to be talked about, even though spiteful texts would attract more readers, but I’m not sure those are the ones that I want to attract, or at least not through these means. Also, it helped to state my opinions and confront them with someone else’s view.
Panic! Panic! Panic! (today) It would not exactly be the first bump in the road, but it took me by surprise and it was caused, as usually, by the website’s translation app. It expired leaving detur la Preciziei unavailable to its Romanian readers (at least to those who only read Romanian) for a couple of days. Everything is back to normal now, and I will make sure it stays like that, especially after the work (and nerves, mostly nerves) that have been put into the website’s translation. One would have thought that as Romanian is my native language it would be piece of cake to translate my own writings into my own language… but reality begged to differ.
What I discovered from this unfortunate event, whose solving only came today, is that the views number on the site considerably decreased (from 40 per day last week to no more than 15 – even less on some days, this week) in the last couple of days. I have been wondering why, blamed it on the absence of new articles published this week, but now that I have discovered the translation issue, I strongly believe that this might be the cause, or at least an important factor. Considering that most of the Facebook followers are Romanians, and not only young people, who are used to reading English texts, the website became unreadable for some of its current followers.
Damage control: Facebook post in Romanian (only) to apologize for the inconvenience and to assure the readers that something similar would not be allowed to happen anytime soon (preferably never). A new film review is scheduled to be published tomorrow with its Romanian version for non-English readers. Hopefully, the views’ number will increase again and this unfortunate event will be soon forgotten.
P.S. No complaints about the translation have been received, but honestly I would have been glad to get such a complaint and deal with the situation sooner.
This is something I am still struggling with, and I will continue to struggle, I am used to having a powerful voice (only in writing), but I seemed to have lost it when I started writing for my own film website (oh! the irony). It is writing about these specific things, close to me, close to what I know. Because a Romanian film feels like home, it was incredibly difficult to write about it from an objective point of view. The articles (be it reviews or essays) had to be informative, for the international public, which might know close to nothing about Romanian film, but friendly and convincing and engaging. All at the same time. And when Romanian public isn’t a fan of its own films and the international public doesn’t know much about this area, is like running with the hare and hunt with the hounds… well maybe not that hard, but still.
I want the texts to be friendly, not to scare anyone off, in spite of its knowledge or interest in film, maybe I convince someone to watch a few films, but then a too friendlier text risks sometimes, to not be taken seriously, and when you want your website to get to the industry, you need to be taken seriously. So, what I decided to do, and did was to write differently about different film, serious when the film demands it, and more playful when the film is lighter. That is why I chose films that cover different genres and deal with different matters and are from different time periods.
Oh, this one was hard to choose and even harder to write. I knew it had to be a contemporary film, but also a film I loved, or at least really liked. There are a few of those, a few films that follow me like: Child’s Pose (Pozitia Copilului 2013), Somewhere at Palilula (Undeva la Palilua, 2012), 4 months, 3 weeks, and 2 days (4 luni, 3 saptamani si 2 zile, 2007), Illegitimate (Ilegitim, 2016), Sieranevada (2016). How did I choose Sieranevada? This one is a bit more than a film I like, I don’t even know if I like it that much, but it bears a special meaning. It is the last film I watched in cinema, in home town cinema, before leaving the country. The last radiography of Romanian life, of my reality, my families, so that I would remember it after changing the country. And I did. It was the film that made me think about developing a final project about Romanian film, so detur la Preciziei couldn’t begin otherwise than with a review for Sieraneva by Cristi Puiu, who was also born in the same county as me.
But the decision wasn’t totally based on an emotional impulse. I crossed the other off the list for pertinent reasons. Child’s Pose and 4 months, 3 weeks, and 2 days are awarded films at European film festivals, and it would have been a cliché to “open” the website with a film of that sort. Somewhere at Palilula, as much as I like it, is an exception-film. It has nothing of the aesthetic that put Romanian film on the map, it’s singular. Illegitimate, the most recent of them all, was crossed only because I planned to have an interview with its producer, and I wanted to publish them one after another.
I have never written a Romanian film review before. It was a challenge because it was a film I liked and it described something I know so well. The film isn’t available online, so I had to base my review on memories, interviews, other reviews and public’s comments, but still, maintain my own opinion and my own voice.
The website’s name was one of the hardest steps in creating the website. It took me a few good weeks to come with a few possible names and still wasn’t sure. The name had to be bilingual, or at least readable in both languages. I definitely didn’t want it to be obviously related to film or Romanian film, but to be catchy, puzzling, to attract exactly through the fact that you can’t exactly tell what the website’s main topic is, just by reading the title. So that, maybe curiosity, more than an interest in film, would be the first reason for clicking. Of course, the website has to get to film enthusiasts, and it will, when promoting it for exactly what it is, a film website.
Other Romanian film websites’ names: CINEPUB, AARC (All About Romanian Cinema), ADFR (Asociatia de dezvoltare a filmului romanesc, Romanian Film Association of Development).
I wanted something different from that, no Romanian film in the title, no cinema or derivates, no film at all, and no acronyms because they only work in one language.
Possible site names:
• detur la Preciziei
• 2M la Preciziei
• 2M est
Final choice, detur la Preciziei. Why detur la Preciziei?
Firstly, because it’s readable in both languages. Romanian word “detur” is the English “detour”, and means exactly the same thing. “Preciziei” is the name of a metro station in Bucharest, which makes it very local, physically situated in Romania, but it also means “precision”, so “detur la Preciziei” would translate as “detour at precision”.
Romanians, who live or have been in Bucharest and know something about the metro stations, will surely recognize the name, as it actually happened already. But the name still makes sense without knowing this, because Preciziei isn’t only a name, but a word itself.
Why a metro station? And why this one in particular? Mostly because it sounded good, but this surely isn’t the only reason. Preciziei is not a central metro station; it’s actually the end of the line, so one has to make a detour to get there. If you’re not living or working there, Preciziei is not somewhere you would just casually go, just as Romanian films are not something that you would casually watch. Romania is an Eastern European country (well, geographically, is pretty central, but ideological…), Romanian film is an Eastern film, meaning that it is not the in the flash lights. Romanian film’s place in European film history, at the “periphery”, but not really corresponds, in a metaphorical way, with the geographical position of the metro station. So, one would actually have to make a “detur” to get to Romanian film.
Plus, there aren’t any other results on a Google search except for my film website.
The logo is linked to the metro station, it simply depicts two main metro lines in Bucharest (the red one that goes to Preciziei and another one that has the same route for half of the stations. I talked with a few young graphic artists for the logo and gave them complete freedom, with the only mentions that the logo has to be simple, and the name readable.
What I liked about these logos, all designed by Bogdan Iordache, is that he used the metro lines as inspiration. The 2 others that I have talked with thought immediately about Communism because the post-communist element is so present in our cinematography. But Romanian films aren’t only about Communism, and by all means, I want to avoid labelling it from the start. It is one of the main reasons Romanians criticize Romanian films, because they draw too much from post-communist realities, insisting upon those elements that remind them of the totalitarian regime. So, it was crystal clear to me, that I cannot promote Romanian film, by using exactly something that is criticized by the public. Furthermore, my website’s aim is to talk about film, not about post-communist film or anti-communist film, but about film, about Romanian film and its complexity. Yes, the communist elements exist, and they are depicted on the screen for a reason, but they are part of a bigger picture.
Thus I chose the metro over Communism, and not only because Preciziei is a metro station, and the title and logo perfectly complete each other, but because the metro is constantly moving, underground, even when you don’t see it, the metro is constantly moving.