Magazine article Screen International

Corneliu Porumboiu, When Evening Falls

Magazine article Screen International

Corneliu Porumboiu, When Evening Falls

Article excerpt

Corneliu Poromboiu's third film to play at Sarajevo Film Festival, When Evening Falls On Bucharest Or Metabolism is also his first to be included in the festival's competition.

Known for his dead-pan humour and penchant for playing with form and content, Porumboiu's new work is about making of a film - but we never see the actual shoot.

Porumboiu talks to ScreenDaily about how his film-making is developing, what is the significance of body language in his film and how important instruments are both in real life and film.

You seem to be getting more minimalistic with each new film.

Each film is like an adventure and is in a sort of debate with the films I made before. Everything that I make stems from something that I already made and things I saw in those films but didn't speculate enough on, themes I want to tackle more deeply and take them in a different direction.

In Police, Adjective I was working a lot with a sort of double language: body language and what people actually say. Especially for the main character [film director Paul, played by Bogdan Dumitrache] I was thinking of a kind of schizophrenia or dichotomy between his stature and movements on one hand and the way he speaks on the other. This is something I wanted to develop more: a dialogue that is clearly written for film and body movement which more theatrical.

How did you develop the characters which are coming from your own world, that of film-making?

Each character is a reflection of something. I like to work on the surface. You just see the characters the way they appear to you, but you don't have their biography, you don't exactly know their psychology. You actually only focus on them because I'm using such long shots.

I didn't want to psychologise. I wanted my film to be like a broken mirror in the way Stendhal defined a novel as a mirror one carries. It is something that you simultaneously have access to and you don't. You can get to the reality of things when you approach them, but you can't explain them. You have parts of the picture, but never the full picture.

I also wanted to question the type of objectivity when you make cinema. It is about the way you are and how your body reflects the world outside.

When it comes to body language, the director character in the film is eating differently from the actress, played by Diana Avramut- he is chewing very quickly and loudly, while she is eating more normally. …

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