In anticipation of the new edition of the One World Romania festival, which will take place between the 21st and the 30th of August, we are launching a new project meant to stimulate your curiosity: The Waiting Room - a series of online meetings with some of the personalities from the world of international documentary that we aim to celebrate at OWR13. The first session will take place on Friday, June 5th, at 8.00 PM, when we will have the pleasure to talk to the British-American filmmaker Irene Lusztig.
Every other week, we will meet on Friday night with one or more such special guests, and some of their films will have been available for a week before on the Eventbook platform. The online discussion will focus on both these older achievements and their latest projects, which will be screened during the festival.
We launch the project through a special meeting with Irene Lusztig, a British-American filmmaker of Romanian origin whose work is a constant attempt to recover images of the past to read among them the unofficial, untold stories, and return their multitude of meanings. Her work often begins with a thorough exploration of an impressive amount of audiovisual archives related to a theme or historical moment - the plurality of perspectives that such images, decontextualized and recontextualized, always provoke is precisely what the filmmaker is looking for. Her favorite subjects are feminism, language and the history of perception and attitudes towards women and their bodies.
Irena Lusztig's first feature film, Reconstruction (2001), retraces the fate of the filmmaker's grandmother, Monica Sevianu, who was involved with her husband in the "Ioanid affair": the 1959 armed robbery of a National Bank vehicle carrying more than a million lei. It resulted in the arrest of the perpetrators, who were put to act their own parts in an educational film, and the execution of all but Monica, who was sentenced to life in prison. Romanian viewers may be familiar with the subject through Alexandru Solomon's 2004 documentary, The Great Communist Robbery, and Nae Caranfil's 2014 fiction film, Closer to the Moon. But Irene Lusztig's Reconstruction vibrates with that unique sensitivity that only the direct, even intimate connection between a filmmaker and her subject provides.
Her next film, The Motherhood Archives (2013), is an experimental documentary that combines archive films about pregnancy, childbirth and raising children from various periods of the twentieth century and contemporary material, forming a complex essay that questions the different aspects of motherhood: identitary, ideological, biological and psychological, and also deeply personal and unrepeatable.
Her latest film is Yours in Sisterhood ( 2018) and features dozens of women from different parts of the United States, of various ages, races, ethnicities and social classes, reading letters sent by other women, half a century ago, to Ms. editorial office, the first mainstream feminist magazine. The documentary thus creates a bridge between different eras and between different feminist manifestations. The film will be screened during the 13th edition of the One World Romania festival.
Therefore, on Friday from 6.00 PM, we will be live streaming Irene Lusztig’s first film, Reconstruction, on our Facebook page.
From 8.00 PM (Romanian time), you will be able to watch the discussion with the filmmaker or, if you want to actively participate, you can connect on Zoom at the following link, between 7.40 PM and 7.50 PM: us02web.zoom.us/j/81664031821
We will also be joined by Irina Trocan, film critic, and Alexandru Solomon, filmmaker and director of One World Romania, while the moderators will be Andrei Rus and Vanina Vignal.
Film tickets cost 10 lei or 5 lei - reduced price for students, pensioners and people with disabilities. You must have or create an Eventbook account to view and purchase. Each user will have 48 hours after purchasing the ticket or using the barcode on the subscriptions to watch the movie.
Those who have purchased general subscriptions for OWR # 13 will be able to watch all the movies in The Waiting Room for free. Those who want to support the OWR team, thus having free access to the events of the association, can become OWR Friends.
One World Romania Association
South East Europe Rule of Law Program of the Konrad Adenauer Foundation
WITH THE SUPPORT OF:
Administration of the National Cultural Fund, National Center of Cinematography, Romanian Cultural Institute, UNHCR - UN Agency for Refugees, Romanian Filmmakers Union, DACIN-SARA, Representation of the European Commission in Romania, National Council for Combating Discrimination, Capital City Hall through ArCuB - Cultural Center of Bucharest
Bosch, HBO, Aqua Carpatica, Sâmburești Domains, Kronenbourg Blanc, Somersby
Embassy of France in Romania, French Institute in Bucharest, Goethe-Institut Bucharest, Embassy of the United States of America in Romania, Czech Center Bucharest, Austrian Cultural Forum, Embassy of Switzerland in Romania, Embassy of the Kingdom of the Netherlands in Romania, CEREFREA Villa Noel, Embassy of Sweden in Bucharest, Palestinian State Embassy, Palestinian Cultural Center "Mahmoud Darwish", Palestinian Film Festival, Polish Institute in Bucharest, Italian Institute of Culture, Wallonia-Brussels Delegation in Bucharest, Spanish Embassy in Romania, Balassi Institute - Hungarian Institute in Bucharest, SUPER Festival, Apollo 111, Mezzanine, Agency Together, Kinedok, Astra Festival, Transylvania Film
Magic FM, Rock FM, Radio România Cultural, Radio Europa Liberă, Scena9, DOR, Films in Frame, Cinepub, Cărturești, Observator Cultural, Perspektiva, Humanitas, Film Menu, Cutra, Igloo, Liternet, All About Romanian Cinema, Zile și Nopți, The Institute, Graphic Front, Verbs Describe Us
THE FESTIVAL WAS FOUNDED IN 2008 BY:
The Czech Center Bucharest
The project does not necessarily represent the position of the National Cultural Fund Administration. AFCN is not responsible for the content of the project or how the project results can be used. These are entirely the responsibility of the beneficiary of the funding.
This project is funded in part by a grant from the U.S. State Department. The opinions, findings, and conclusions presented in this paper are those of the author (s) and do not necessarily reflect those of the U.S. Department of State.