Dragoș Pîslaru

Christina's ghost haunts the mansion where she was born.

An epic love story set during the troubled moments of Romanian history that culminate in the Great Union of Alba Iulia.

In 1925 Romania, young Marie-Therese Von Debretsy refuses the flirtatious advances of her husband's commanding officer. As a result, the cosmopolitan family is reassigned to a brutally bleak and dangerous outpost on the Bulgarian/Romanian frontier where both their relationship and humanity are severely tested.

The third part of the trilogy focuses on June and Romulus, who are having a baby. The misfortune delays the family's plans to move back to Transylvania. Things get even more complicated when Traian, one of the Brad brothers set out in search of water on his land, discovers crude oil.

The woman in red is Ana Cumpanas, a Romanian emigrated to the US, which facilitates the killing of her lover, the famous gangster John Dillinger in Chicago. After an adventurous life, the woman returns to die in her homeland.

Free adaptation of the book "The Pitesti phenomenon" by Paul Goma. The last days of World War II. All people resembling Adolf Hitler, Eva Braun, Goebbels, Bormann and other Nazi leaders are arrested and taken to a camp so that the real fascist criminals can be discovered and punished. Thus begins the long nightmare of these characters, who will suffer for unproven crimes. For a year they will live in total isolation from the rest of the world, living a hellish existence.

Traumatized by the loss of his wife, Vasile, an engineer, joins a new work collective in the provinces, at the ARO factory. Saddened by his loneliness, Cristina overcomes his resistance by becoming close to his little boy.

The story of two men working with the underground movement in 1934.

Three sequences which could have formed separate stories are linked together to give a larger perspective on the nature of reality and film. The three episodes are joined together by one film crew at work. In the beginning, the crew is introduced as they juggle their dual roles as State-supported propagandists who laud their government and society, and as private movie makers working on their own film. Next, they are in a restaurant looking for suitable locations to film when the eatery’s owner is induced to wax long and lugubriously on his miserable life. In the last segment, two extras are in the background of a scene, sitting at a table in a restaurant. It slowly becomes apparent to one of them that the man he’s sitting with tortured him more than 40 years ago at a Nazi concentration camp during World War II.