Radu Jude

Orsolya is a bailiff in Cluj, the main city in Transylvania. One day she has to evict a homeless man from a cellar, an action with tragic consequences that triggers a moral crisis which Orsolya must weather as best she can.

In the days following October 7, Y., a jazz musician, and his wife Yasmin, a dancer, resolve to say yes to everything. Y. and Yasmin sell their bodies and souls to the highest bidder, surrendering themselves and their art to Israel’s social, political and military elite. Soon, Y. is entrusted with a mission of the utmost importance: to compose the music for a rousing, ruthless new national anthem.

Kurt Gerstein—a member of the Institute for Hygiene of the Waffen-SS—is appalled to discover that a poison gas he helped discover is being used to kill Jews. Driven by his conscience to alert the rest of the world, Gerstein teams up with a young Jesuit priest, Riccardo Fontana, but their protestations fall on deaf ears in the Vatican.

On behalf of a multinational company, a production assistant drives around the Romanian city of Bucharest, interviewing various citizens who have been injured due to work accidents to cast one of them in a “safety at work” video.

Gianina, a young Romanian, works as a housekeeper for a bourgeois family in Bordeaux. In the evenings, she rehearses the role of a maid with an amateur theater troupe in an adaptation of The Diary of a Chambermaid by Octave Mirbeau. She takes care of Louen, her employers’ son, while her own daughter is growing up far from her, in Romania. The maternal absence deepens into a wound but, as Christmas approaches, the promise of a reunion begins to take shape.

Photographer David Zimmerman rarely leaves home until friends bring him to a wild party. He becomes fixated on a mysterious woman and follows her. By dawn, his life transforms - he awakens in her body.

In modern-day Transylvania, vampire hunts and labor strikes collide with sci-fi twists, romance, and AI-crafted tales, as multiple storylines blend folklore, classic horror, and contemporary elements into a fresh take on Dracula's legend.

December 31, 1999. Quebec is a few hours from year 2000 and its potential bug. Trapped in a Montreal appartement, Momo needs only one thing to survive this nightmare: couscous.

After suffering terrible headaches and stomach cramps, Mr. Lăzărescu, a lonely 63 year-old man, calls for an ambulance, beginning one man’s hellish journey through Bucharest hospitals in search of proper medical care. As the night unfolds, his health starts to deteriorate fast.

In 1981, chalk slogans written in uppercase letters started appearing in public spaces in the Romanian city of Botoşani. They demanded freedom, alluded to the democratic developments taking place in Romania’s socialist sister countries or simply called for improvements in the food supply. Mugur Călinescu was behind them, who was still at school at the time and whose case is documented in the files of the Romanian secret police. Theatre director Gianina Cărbunariu created a documentary play based on this material.

During the summer of 1937, Emanuel, a young man in his early twenties, is committed to a sanatorium on the Black Sea coast for treatment of his bone tuberculosis. The treatment consists of painful spine punctures that confine him to a plaster on a stretcher-bed. Little by little, as Emanuel gets accustomed to the sadness of his new life, he discovers that inside the sanatorium there is still a life to be lived to the fullest.

8-year-old Daria thinks she hears a mouse in the middle of the night. But when she wakes up her father for help, bigger family problems come to light.

Marius is a divorced man in his late thirties. His five year-old daughter Sofia lives with her mother, which causes Marius a deep frustration. On the day Marius arrives to take his daughter on their annual holiday, he is told that she is ill but he doesn't believe it and insists to take her with him. The situation soon gets out of control with all the family taking part in a web of humor, violence, childish songs, police interventions and love statements.

A found-footage documentary assembled exclusively out of post-socialist Romanian advertisements, this brings together these documents of Romania’s long transition period, they are made to speak about life, love and death, about the body and human frailty, about nature and the supernatural, about recent history, and, of course, about socialism and capitalism.

Vintage pornography reels from the archives of Italy’s National Film Museum display over an AI recitation of Dante's The Divine Comedy.

During the 1980s, the American journalist Edward Serotta documented the harsh realities and Jewish life in socialist Romania. The secret services clandestinely accompanied him on his journey. A photo essay from opposing perspectives.

Set in early 19th century Wallachia, Romania, a policeman, Costandin, is hired by a nobleman to find a Gypsy slave who has run away from his estate after having an affair with his wife.

"I do not care if we go down in history as barbarians." These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.

When Mrs. Stanka Atanasova, an elderly and sick woman, enters her block of flats, she discovers that the elevator is out of order. Stanka must use the stairs to get to the ninth floor, and what for most of us is a simple task, becomes a challenge for her.

Delia, a young Romanian girl, comes to Bucharest with her parents to collect a prize she has won in a contest organized by a soft-drinks company. The prize is a beautiful new car. All Delia has to do now is appear in front of the camera in a commercial. All goes well until it becomes clear that Delia and her parents have very different ideas about what to do with the new car. Meanwhile, the contest's sponsor needs a radiant prize-winner with a gleaming smile. A wicked satire and a psychological portrait of a society perverted by its slavery to capitalism and consumerism

An anthology of black humour by Radu Jude and Andrei Rus, revealing the inexhaustibly grotesque energy of TikTok (including in the age of the deepfake).

Directed by four different filmmakers and produced by different production companies, these four short films share a common theme - life and death - and a common origin - all four are independent productions made with a little help from all our friends.

A disillusioned man is filming his farewell letter before committing suicide.

Invited by the goEast Film Festival in Wiesbaden (Germany), Radu Jude created a self-portrait. A confinement diary made of his thoughts, his relationship to cinema, his inspirations or the streets, objects and people that surround him.