4 Months, 3 Weeks, and 2 Days

[Benny Profane]

http://www.telegraph.co.uk/arts/graphics/2007/05/27/bfnights.jpg

A no-frills look at a "back alley" abortion in Romania focusing on two desperate, vulnerable, and brave females students; Gabita, who is pregnant, and Otilia, her loyal friend. Actually, the abortion is carried out in a hotel room. Taking place over the course of one day, the film offers us not only a glimpse at what a reluctant pregnant mother will do to avoid giving birth, and the intense edginess involved in such a risky undertaking, but a sincere look at what life was like during a totalitarian regime. Not only the black market of abortion, but mundane consumer goods like cigarettes, tic tacs, and gum. Bread queues, hot water, bus tickets, and identity cards are at the forefront of everyone's mind. These circumstances are never questioned during the film, they are simply facts of life that the characters must live with.

This same unwillingness to pass judgment is extended to abortion, the central act of the film. The movie seems to take a neutral stance on the issue, not preaching or even offering an overt opinion on whether what Gabita and Otilia are doing is moral. It neither condescends to the girls, nor absolves them of their deed, and presents the consequences of their actions in a fair and clear-eyed manner. I do, however, think that the filmmakers consider the fetus to be a living being. The title of the film, in my opinion, is not so much the length of Gabita's pregnancy, but moreso the lifespan of the fetus. There's something about the preciseness of that time involved that gives me that impression. That's a topic of discussion I'd like to get further into. A conversation between Otilia and her boyfriend Adi shows the breakdown of trust between male and female in a society in which abortion is illegal, and that's another topic which merits more pondering.

The film is really effective in its realistic presentation, something that Armond White, the speaker at my screening, referred to as part of The Romanian New Wave, and gave that as the key reason why it won the Palm D'or in Cannes. Shaky cam, lingering shots, mundane conversation, imperfect lighting, no score or soundtrack, cramped indoor conditions, a "verite" style that characterized The Death of Mr. Lazarescu and some other title he mentioned whose name escapes me. All of which enhances the desperate mood of the film. Oftentimes the conversations will take place off screen while the camera lingers on a character's facial expressions, and this was used to great effect at a dinner table scene in Otilia's boyrfriend's parents apartment, which highlighted not only generational gaps, but wealth and class gaps, as well as city and country customs. The film is truly a concise transportation to a distinct time and place.

There are red herrings which abound throughout the narrative such as a stolen pocketknife, an ambulance parked outside the hotel, a confrontation with the front desk about identity cards, a "mugger" willing to offer help with bus schedules that add to the sense of dread but are never what they seem. That being said, the film is a major achievement from both a storytelling and thematic point of view. I think the crowd here will really like what they see.

[Velocipedist]

Do see Mungiu's previous movie, Occident, it's much more authentic.

[Kurosawa Fan]

This is available on my OnDemand. I'll have to try to find time to check it out.

[Ezee E]

One of the best movies of 2007. For those of you who like long, single shots, you'll adore it.

[Velocipedist]

If there's one thing about this movie that needs to be praised, it is Anamaria Marinca's performace.

[Sycophant]

One of the best movies of 2007. For those of you who like long, single shots, you'll adore it.
I love mature movies. I'll have to check it out.

[Benny Profane]

Steven Boone at The House Next Door on why (http://mattzollerseitz.blogspot.com/2008/01/miraculous-frame-4-months-3-weeks-and-2.html) describing the movie's style as vérité is a misnomer.

That review is laden with spoilers. Just saying.

[Rowland]

That review is laden with spoilers. Just saying.I didn't read it, figured people who have seen the movie might be interested.

[Benny Profane]

I didn't read it, figured people who have seen the movie might be interested.

How did you know what it said about the film's style if you didn't read it.

[Rowland]

How did you know what it said about the film's style if you didn't read it.Why do you care?

I read the first paragraph, which was presented as a preview for the review on the blog's homepage.

[Benny Profane]

Why do you care?

I read the first paragraph, which was presented as a preview for the review on the blog's homepage.

Just don't think you should be posting links to reviews that might have spoilers without qualifying them first. You could ruin the movie for someone. I think it's only fair.

[Rowland]

Just don't think you should be posting links to reviews that might have spoilers without qualifying them first. You could ruin the movie for someone. I think it's only fair.I didn't know there were spoilers, I didn't read it. If people are reading analytical reviews before seeing the movie, that's their fault.

[Hugh_Grant]

The film is really effective in its realistic presentation, something that Armond White, the speaker at my screening, referred to as part of The Romanian New Wave, and gave that as the key reason why it won the Palm D'or in Cannes. Shaky cam, lingering shots, mundane conversation, imperfect lighting, no score or soundtrack, cramped indoor conditions, a "verite" style that characterized The Death of Mr. Lazarescu and some other title he mentioned whose name escapes me.


12:08 East of Bucharest?

[Benny Profane]

I didn't know there were spoilers, I didn't read it. If people are reading analytical reviews before seeing the movie, that's their fault.

That makes no sense. There are two people in this thread who haven't seen the movie but still clicked the link and replied. I don't see how anyone would know that the review you linked was "analytical" based on the little info provided. A dissection of verite style as it pertains to the film could still transpire without giving away the ending as the reviewer you linked did. Do you typically post links to reviews without reading them? I'd like to know for future reference.

[Benny Profane]

12:08 East of Bucharest?

Yes! That was the one. Thank you.

[Rowland]

That makes no sense. There are two people in this thread who haven't seen the movie but still clicked the link and replied. I don't see how anyone would know that the review you linked was "analytical" based on the little info provided. A dissection of verite style as it pertains to the film could still transpire without giving away the ending as the reviewer you linked did. Do you typically post links to reviews without reading them? I'd like to know for future reference.You're right, I shouldn't post links without reading them. I just noted a reference to the movie's supposed verite style in your opening post, remembered that a piece at THND was written opposing this notion, and thought to post it. It didn't occur to me to note possible spoilers, because I was posting it primarily for people who have seen the movie and would thus be able to get anything out of it.

But it's gone, so enough with the interrogation.

[NickGlass]

One of the best movies of 2007. For those of you who like long, single shots, you'll adore it.

Yippee!

[Ezee E]

Yippee!
You haven't seen it yet? I figured you'd have gotten the chance at some festival by now.

[Rowland]

I can't get over how much the girl in that picture (I assume she's the lead) looks like my first girlfriend. It's fucking uncanny, right down to the overlarge forehead she tried to hide with bangs.

[NickGlass]

You haven't seen it yet? I figured you'd have gotten the chance at some festival by now.

Between festivals and press screenings, I've had three chances to see it. Luck, however, was never on my side. It opens in Boston on Friday (although, alas, I'll be busy in NYC until Saturday night); Nonetheless, I'll see it before the weekend is over.

[lovejuice]

Tropical Malady (Weerasethakul): Hmm

curious about this.

[NickGlass]

curious about this.

So am I.

[lovejuice]

So am I.

so you write anything about it? what do you think?

[origami_mustache]

So am I.

me three

[baby doll]

It's okay, but far from the masterpiece it's being touted as. The truly disappointing thing about the Juno backlash is seeing reviewers as intelligent as Manohla Dargis rally behind this film as an alternative even though its black-and-white morality is every bit as comforting as Juno's overbearing cutesiness (which extends well beyond the sit-com one-liners). As much as Reitman's film wants to reassure the protagonist--and by extention the audience--that a man and a woman can stay together and be happy, this film wants to reassure us that life in communist Romania wasn't a bed of roses (don't stop the presses) and, even in a so-called "classless society," the educated look down on the masses. That said, it's a hell of a lot more interesting than the similarly overrated The Lives of Others, which likewise doesn't require a moment of thought from the viewer.

[number8]

Posted my review (http://www.justpressplay.net/movies/4-months-3-weeks-and-2-days/review/).

[kamran]

There are red herrings which abound throughout the narrative such as a stolen pocketknife, an ambulance parked outside the hotel, a confrontation with the front desk about identity cards, a "mugger" willing to offer help with bus schedules that add to the sense of dread but are never what they seem. That being said, the film is a major achievement from both a storytelling and thematic point of view. I think the crowd here will really like what they see.

I adore the film, but these really bothered me as well. From my review (http://cuttingroomreviews.blogspot.co m/2007/09/4-months-3-weeks-and-2-days.html): "For example, it is a stretch to believe that her character would leave her identification behind carelessly, considering how vital it is for her clandestine tiptoeing. This conveniently allows the hotel's front desk personnel to berate her (once again). Or that the street-smart character would walk through poorly-lit alleyways following the day's ugly and traumatic events."

[Duncan]

It's okay, but far from the masterpiece it's being touted as. The truly disappointing thing about the Juno backlash is seeing reviewers as intelligent as Manohla Dargis rally behind this film as an alternative even though its black-and-white morality is every bit as comforting as Juno's overbearing cutesiness (which extends well beyond the sit-com one-liners). As much as Reitman's film wants to reassure the protagonist--and by extention the audience--that a man and a woman can stay together and be happy, this film wants to reassure us that life in communist Romania wasn't a bed of roses (don't stop the presses) and, even in a so-called "classless society," the educated look down on the masses. That said, it's a hell of a lot more interesting than the similarly overrated The Lives of Others, which likewise doesn't require a moment of thought from the viewer.

There is no way the morality of this film is either b&w or comforting. You talk about the political aspects of the film (which are fairly straightforward, I agree) but fail to even touch on, you know, abortion. The detailing of the communist regime is not the focus of the film, but serves to create a consistently tense backdrop. The class discussion you speak of works on three levels: it's a broad political statement; it furthers the miserableness of Otilia's day as she has to sit there politely insulted; and it reminds us that Gabita might be bleeding to death as Otilia fulfills social obligations. And how can you argue that the image of a fetus (with formed facial features) is at all comforting? The film is challenging precisely because it does not make a definitive statement on its central issue. It shows the desperation of these two girls, but it also shows that if Gabita smartened up a bit there probably wouldn't be a fetus at the bottom of a trash chute. It also specifically labels the date of development as being beyond the point most advanced countries will still perform an abortion, because technically the fetus could breathe for a few moments outside the womb.

Anyway, saw it yesterday. Thought it was great. Not a masterpiece, but pretty great.

[baby doll]

There is no way the morality of this film is either b&w or comforting. You talk about the political aspects of the film (which are fairly straightforward, I agree) but fail to even touch on, you know, abortion. The detailing of the communist regime is not the focus of the film, but serves to create a consistently tense backdrop. The class discussion you speak of works on three levels: it's a broad political statement; it furthers the miserableness of Otilia's day as she has to sit there politely insulted; and it reminds us that Gabita might be bleeding to death as Otilia fulfills social obligations. And how can you argue that the image of a fetus (with formed facial features) is at all comforting? The film is challenging precisely because it does not make a definitive statement on its central issue. It shows the desperation of these two girls, but it also shows that if Gabita smartened up a bit there probably wouldn't be a fetus at the bottom of a trash chute. It also specifically labels the date of development as being beyond the point most advanced countries will still perform an abortion, because technically the fetus could breathe for a few moments outside the womb. I don't think the movie is especially ambiguous about abortion, or why set the story in a period when abortion was illegal? The whole point is to show that people are going to have them regardless of whether it's against the law, and it's much better to live in a society where it's legal. That it's a messy affair is almost beside the point. As for Gabita needing to smarten up, wouldn't anyone hesitate before having an abortion, especially in communist Romania? I think the film works best as a story about two contrasting personality types (assertive and passive, respectively).

[trotchky]

The whole point is to show that people are going to have them regardless of whether it's against the law, and it's much better to live in a society where it's legal.

That's a pretty determinedly single-minded reading of the film. I'd say the "whole point" is the evocation of place, with the abortion used as a convenient jumping-off point (it bridges the gap between the personal and the societal) for depicting Otilia's multi-tiered struggle against her world.

[ledfloyd]

i watched this last night. devastating. i wrote a review for my blog.

[chrisnu]

Why I put off watching this until now, I don't know. Unbelievable that this was Anamaria Marinca's first film. Wow.

[ledfloyd]

Why I put off watching this until now, I don't know. Unbelievable that this was Anamaria Marinca's first film. Wow.
indeed. i put it off for awhile and was absolutely blown away when i finally watched it. especially by her.