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"Puiu, Cristi, 1967- Criticism and interpretation."
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Cristi Puiu
Cristi Puiu's black comedy The Death of Mr. Lazarescu announced the arrival of the New Romanian Cinema as a force on the film world stage. As critics and festival audiences embraced the new movement, Puiu emerged as its lodestar and critical voice. Monica Filimon explores the works of an artist dedicated to truth not as an abstract concept, but as the ephemeral revelation of the fuller, ungraspable world beyond the screen. Puiu's innovative use of the handheld camera as an observer and his reliance on austere, restricted narration highlight the very limits of human understanding, guiding the viewer's intellectual and emotional sensibilities to the reality that has been left unfilmed. Filimon examines the director's ethics of epiphany not only in relation to the collective and personal histories that have triggered it, but also in dialogue with the films, texts, and filmmakers that have shaped it.
eBook
\Lăzărescu, come forth!\: Cristi Puiu and the Miracle of Romanian Cinema
[...] Valerian Sava interprets the black screen after the cut of the film's last shot as an ellipsis, not as the death of Lazarescu per se. [...] we have Lazarescu's three neighbors-Sandu (Doru Ana) and Mihaela Sterian (Dana Dogaru), the couple living across the hallway from Lazarescu's apartment, and GeIu, a young man who lives upstairs with his family.
Journal Article
Niki and Dante: Aging and Death in Contemporary Romanian Cinema
[...] just as The Death of Mr. Läzärescu did, with its old posters and cats, Niki and Flo makes very clear the excruciating solitude and power of orphaned objects by showing Mihai's young widow hanging on to his shoes or Pusa clutching his clarinet (\"It's broken,\" Flo points out, \"it's missing a couple of keys\"). The terrible act of violence that concludes Niki and Flo is there to reinforce Pintilie's view of cinema as a cry of despair as well as a warning in the face of the cruelty of history, but both in his film and in Cristi Puiu's one of the principal points remains the unbearable presence of the past, of a personal history that is ignored and mistreated by all the characters.
Journal Article