Three days after the terrorist attack on the offices of Parisian weekly Charlie Hebdo and forty days after the death of his father, Lary, a doctor in his forties is about to spend the Saturday  at a family gathering to commemorate the deceased. But the occasion does not go according to expectations. Forced to confront his fears and his past, to rethink the place he holds within the family, Lary finds himself constraint to tell his version of the truth.  " /> Aarc.ro - Sieranevada (2015)

Revistă online editată de Uniunea Cineaștilor din România

Premiul pentru publicistică 2015 al Asociaţiei Criticilor de film



Sieranevada (2015)

Sieranevada


173 min. - Dramă - AP 12 - 09.09.2016


Synopsis:

Three days after the terrorist attack on the offices of Parisian weekly Charlie Hebdo and forty days after the death of his father, Lary, a doctor in his forties is about to spend the Saturday  at a family gathering to commemorate the deceased. But the occasion does not go according to expectations. Forced to confront his fears and his past, to rethink the place he holds within the family, Lary finds himself constraint to tell his version of the truth.  

Director: Cristi Puiu

Writer: Cristi Puiu

Stars: Mimi Brănescu, Bogdan Dumitrache, Dana Dogaru


Galerie foto


Galerie video



Distribuție

Mimi Brănescu Lary
Sieranevada (2015) Cătălina Moga Laura
Sieranevada (2015) Judith State Sandra
Vezi tot genericul

Producători

Mandragora
Co-producers:
Produkcija 2006 Sarajevo (BIH), Croatian Audiovisual Center (HR), Spiritus Movens (Croatia), Sisters and Brother Mitevski Production (Macedonia), Alcatraz Films SAS (France), 2006 d.o.o, ARTE France Cinéma, The Cinema Creation Studio of the Ministry of Culture
With the support of the National Filmmaking Centre (CNC)

Date de producție

It won the CNC's cinema projects competition in 2013, under the title "Sierra Nevada". 
Financing: EUR 367,000 from CNC, EUR 200,000 from Eurimages, EUR 91,500 from the Audio-visual Centre of Croatia, EUR 84,000 from the Film Fund in Macedonia.
Shoot location – Bucharest. Budget – EUR 1,400,000 
The film was made with the support of: the National Filmmaking Centre (CNC), Fondacija Za Kinematografiju Sarajevo, Macedonian Film Agency, Croatian Audiovisual Center, Region Ile de France, Eurimages.
Cu participarea: HBO Romania, Aide aux Cinemas du Monde, Valvis Holding Dristribution, Centre National du Cinema et de l’Image Animee, Ministere Des Affaires Etrangeres et du Developpement International, Institut Francais, Arte France.
With the participation of: BMW Group Romania, Nestle Romania, AQUA Carpatica, Vodafone, Albalact, Groupama Romania, Apa Nova, DHL, Zumzet, Musette.

Distribuitori

Iadasarecasa - România, Wild Bunch - World Wide

Festivaluri

  1. 2016 - Chicago - Gold Hugo - Best Film and Silver Hugo - Best Director
    2016 - UCIN - The Great Prize and the Trophy of The Romanian Filmmakers Union, Best Director, Best Screenplay, Best Actress (Dana Dogaru), Best Actress in a Supporting Role (Ana Ciontea), Best Actor in a Supporting Role (Sorin Medeleni). Best Film of the Year - Association of Critics and Filmologists
    2017 - Trieste - Prize InCE (Iniziativa Centro Europea)
    2017 - Gopo - Best Movie (Anca Puiu), Best Script and Best Director (Cristi Puiu), Best Actress (Dana Dogaru), Best Actress in a Supporting Role (Ana Ciontea), Best Editor (Letiția Ștefănescu, Cristian Cimpoi)

Trivia

  • Selected în the Official Competition at Cannes Film Festival 2016. 
Cristi Puiu about film:
The Starting Point -  Brimming with enthusiasm and great innocence, we embark upon our journey of life eagerly relishing the path, because, you know, history begins with us. Well trained and relying on our reason (which has never betrayed us!), we diagnose the world and make predictions about “the bright future”. Evil is something that only affects others. Thinking ourselves touched by God’s grace, we see nothing in the eyes of our fellow man, but rather a reconfirmation of our own goals. One day, alas, our beloved fellow man leaves us for good. And then something in us changes. And we grieve. Then, year after year, we commemorate his departure. As for the departed, we come to forget him. Little by little.   My father died on 21 May 2007. Forty days later, we gathered around the table in the dining room, to commemorate him in accordance with tradition: relatives, friends and colleagues. But things turned out differently.  With my sister’s help, my mother cooked the food, provided drinks, and invited the priest to attend, so that the feast would be by the book. We, his closest relatives, unwillingly contributed money and found ourselves having to deal with the practical details of the commemorative ceremony. Despite the arguments this gave rise to, in the end we agreed on the pointlessness of tradition, given that after all it is the thought that counts. But it was precisely our argument about “the thought that counts” which cast a shadow over the whole ceremony, which slowly degenerated into a settling of old scores, and the reunion of friends, relatives and colleagues descended into open warfare.
My father arrived in Bucharest in 1946, aged six, along with his family, during the famine that struck Moldavia just after the Second World War. In 1964, he married my mother and they had three children. For thirty years, he worked in the administrative department of a big hospital in Bucharest, and in 2007 he died of cancer of the colon.  I don’t know whether he was a good or a bad father. What I do know is that he didn’t change history in any way and I don’t even know whether he ever wanted to. I knew he wanted to be a violinist and I remember him conducting in front of the television every Sunday at eleven o’clock, when National Television broadcast “The Joy of Music”. And I knew he couldn’t be with us because he had lots of work at the office. And there are some other things I know about him from the people who got to know him.  Another thing I know is that I don’t remember ever telling him how much I loved him.  At the fortieth day commemoration, when we all gathered around the table in the dining room, I was surprised to realise I was commemorating somebody I hadn’t quite met. Despite the stories about him that passed from mouth to mouth, none of the people present seemed to be aware of the fiction they were attaching to my father, the man who had left us forty days previously. And worst of all, none of the people at the table seemed bothered by the absence of him who was gone forever. And why would they have been bothered, in the end?  The day he died, I was far away. I’ve been told that he passed away in the arms of Leo, my sister’s husband. None of his children were there. Not even my mother.   One day a friend of mine confessed to me that whenever somebody does something bad to him, in order to cast out all the demons of revenge, he chooses to look at that person as if he had once been a child too. It was only then that I realised that I had never thought of my father as somebody who had also been a child and who had started his journey of life with enthusiasm and great innocence.
Sieranevada is the story of a commemoration that will never take place.  
Sieranevada is the story of those who choose to take refuge in fiction and hide their fears behind “concrete reality” when overwhelmed by an incomprehensible grief.
Sieranevada is the imperfect restitution of an unorthodox requiem.  
Sieranevada is an attempt to put on film Aurel Rău’s poem “The Agathirsoi”:  
"We are not from the North,
Nor from the South.
And nor from the West.
Nor are we even from the centre.  
We know how to celebrate the seasons.
And how to bend iron with our teeth.” 

Opinion of the critic:
“It is the creation of an artist who comes from Cioran and Ionesco`s country, whose echoes get insinuated in the film texture, where the existential bitterness meets the mundane absurdness, in order to dictate a bitter-ironic show of life which slips right through our fingers, while we are swallowed up in the mediocrity of the meaningless gestures, by the inability to communicate in other ways besides the domestic or the apparently profound ones. It is also a film of the formal virtuosity, in a perfect match with the entire construction of ideas.” (Magda Mihăilescu)

Articole / Cronici / Interviuri

Interview of the Week with Cristi Puiu  - Cristina Corciovescu
The objectives of the Romanian stand in Marché du Film, Cannes 2016
“Sieranevada”, “Baccalaureate” and “Dogs” at Cannes 2016  
Cannes 2016: “Cristi Puiu, the author of the greatest Romanian film from the years 2000”  - Magda Mihăilescu
Cannes 2016. Friday, the 13th, auspicious times for Cristi Puiu: ”Sieranevada”, eulogistic reviews  - Magda Mihăilescu
Sieranevada - film review  - Tim Robey
Sieranevada - film review  - Peter Bradshaw
Sieranevada - film review  - Dave Calhoun
Sieranevada – first look  - Geoff Andrew
Apocalipsa globalizării și comedia corală - cronică de film ”Sieranevada”  - Dana Duma
Cannes Film Review: ”Sieranevada”  - Peter Debruge
“Sieranevada”, screen preview at the House of Films of Plai
Premierul Dacian Cioloș, prezent la premiera „Sieranevada”
“Sieranevada”, “Two Lottery Tickets” and other surprise screenings at the Romanian Film White Night
Press Conference ”Sieranevada”  - Dana Medar
Ana Ciontea despre ”Sieranevada”  - Dana Medar
„Sieranevada”, campanie de promovare pentru Oscar
“Sieranevada” at Be2Can Film Festival of Prague
“Sieranevada” at the European Film Days in Sarajevo  
„Câini”, „Sieranevada” și „Bacalaureat”, proiecții la Istanbul
“Sieranevada” screened at the Architecture Film Days in Budapest
Waiting for a priest…: “Sieranevada” – film review  - Magda Mihăilescu
The Winners of the 2017 Gopo Awards
2017 UCIN Awards
The 2017 UCIN Awards Gala  - Dana Medar
The 6th Edition of the Caravan “Romanian Film Days” is starting
Nominations to 2017 UCIN Awards
„Sieranevada” intră pe marile ecrane din Polonia
“Sieranevada” released on Blu-ray at TIFF 2017
Romanian Film Days at TIFF 2017
Programme of the Central European Film Festival of Timișoara

Website

www.facebook.com/sieranevadabycristipuiu