But the Cannes jury rewarded the rare and glorious 35 mm "Beyond the Hills" with a shared Best Actress prize for its two non-pro actresses, Cosmina Stratan and Cristina Flutur, as well as a screenplay prize for Mungiu.
The shortlisted Oscar submisssion from Romania for best foreign film plays long for someone who expects conventional pacing and may not understand Mungiu's rigorous aesthetic, which requires that he not cut within a scene. He can trim the front or the back, but not the middle. He explains his philosophy--and how challenging it is to execute-- in our video interview below. "It is not fair to tell the spectator if something is important or not important," he says. "The camera doesn't move unless something triggers it."
This forces Mungiu to be clever about choreographing 12-minute pieces of action, adding off-screen information, and relying heavily on the use of sound. And his actors benefit, he says: "They are given space to develop emotions without cutting," sometimes via as many as 30 takes.
It's been five years since his last film; in the meantime the filmmaker had a second child, finished building his house, produced documentaries, participated in the 2009 180-minute omnibus film "The Golden Age," "two films in one," he says, which "took a while," and directed commercials, including one for the Orange telephone company.
You can see the weariness on Mungiu's face as he recalls what a wrenching experience this film was, shooting multiple takes with his actors in the extreme winter cold. "The camera freezes at minus 15 degrees," he points out matter-of-factly. The clouds of breath rising from the actors' mouths? Not CG.