Germany’s Patra Spanou negotiated the deal with distributor Film Buró.
San Sebastian winner Blue Moon, which won the Golden Shell award for best film at this year’s 69th edition, has been secured for distribution in Spain by Film Buró.
German sales outfit Patra Spanou negotiated the deal with Film Buró’s Susana Rizzuti and Luis Angel Bellaba.
Romanian writer-director Alina Grigore’s debut feature is about a dysfunctional family living in a rural mountain region, a toxic environment that the film’s young heroine, played by Iona Chitu, is desperately trying to escape.
Grigore’s Blue Moon world-premiered...
San Sebastian winner Blue Moon, which won the Golden Shell award for best film at this year’s 69th edition, has been secured for distribution in Spain by Film Buró.
German sales outfit Patra Spanou negotiated the deal with Film Buró’s Susana Rizzuti and Luis Angel Bellaba.
Romanian writer-director Alina Grigore’s debut feature is about a dysfunctional family living in a rural mountain region, a toxic environment that the film’s young heroine, played by Iona Chitu, is desperately trying to escape.
Grigore’s Blue Moon world-premiered...
- 10/5/2021
- by Melissa Kasule
- ScreenDaily
An imperfect, attention-grabbing debut feature from Romanian actor-turned-director Alina Grigore, “Blue Moon” is named for a song, though not the one you might expect: a somewhat mordant local lullaby, sung late in proceedings, at a point when any hope of rest has long deserted its frazzled protagonist. Still, it’s impossible to approach the film without that Rodgers & Hart lonely-hearts standard running through your head — which, accidentally or otherwise, turns out to be an effective bit of misdirection. For the more time we spend with 22-year-old Irina (Ioana Chitu), the clearer it becomes that what she’s missing isn’t a love of her own or someone to care for: What she really, really needs is just to be left alone for longer than five minutes at a time.
That’s easier said than done in what turns out to be a . Whenever Irina tries to escape the noise, it...
That’s easier said than done in what turns out to be a . Whenever Irina tries to escape the noise, it...
- 9/30/2021
- by Guy Lodge
- Variety Film + TV
German sales outfit Patra Spanou Film has acquired the international sales rights to “Blue Moon,” the feature debut of Romanian director Alina Grigore, which will world premiere in main competition at September’s San Sebastian Film Festival.
“Blue Moon” follows the psychological journey of a young woman, played by Ioana Chitu, who struggles to receive a higher education and escape her dysfunctional family. An ambiguous sexual experience with an artist will spur her intention to fight the family’s violence.
Pic stars Chitu alongside Mircea Postelnicu, Mircea Silaghi, and Vlad Ivanov, and is produced by Gabi Suciu for InLight Center (“Illegitimate”), in co-production with Atelier de Film, Forest Film, Smart Sound Studios (“Monsters”) and Avanpost. It’s Grigore’s second feature as a writer, after she wrote and starred in Adrian Sitaru’s Berlinale prize winner “Illegitimate.”
“Romanian cinema has been in the focus of the international arthouse film scene for a while,...
“Blue Moon” follows the psychological journey of a young woman, played by Ioana Chitu, who struggles to receive a higher education and escape her dysfunctional family. An ambiguous sexual experience with an artist will spur her intention to fight the family’s violence.
Pic stars Chitu alongside Mircea Postelnicu, Mircea Silaghi, and Vlad Ivanov, and is produced by Gabi Suciu for InLight Center (“Illegitimate”), in co-production with Atelier de Film, Forest Film, Smart Sound Studios (“Monsters”) and Avanpost. It’s Grigore’s second feature as a writer, after she wrote and starred in Adrian Sitaru’s Berlinale prize winner “Illegitimate.”
“Romanian cinema has been in the focus of the international arthouse film scene for a while,...
- 8/3/2021
- by Christopher Vourlias
- Variety Film + TV
The drama explores the relationship between victim and abuser in a dysfunctional, rural family. Best known for Adrian Sitaru’s Berlinale-selected Illegitimate, actress-screenwriter Alina Grigore is putting the finishing touches to her directorial debut, Blue Moon. The independent feature follows a dysfunctional family in rural Romania, exploring how a victim can become an abuser. The exclusively Romanian project is being produced by Gabriela Suciu and Robi Urs through InLight Center, and co-produced by Atelier de Film, Forest Film, Unfortunate Thespians, Smart Sound Production and Avanpost. The screenplay, written by Grigore, centres on the relationship between Liviu, a man trying to make a family-run business successful in rural Romania, and his younger cousin, Irina (Ioana Chiţu). He doesn’t believe in education, while she dreams of studying in Bucharest. Soon, Irina will discover that she is ready to do anything in order to smash Liviu’s preconceptions about...
Author: Stefan Pape
Having picked up the Golden Bear with his preceding endeavour Child’s Pose, auteur Calin Peter Netzer returns to the Berlinale with Ana, Mon Amour – and while belonging to the quite remarkable Romanian New Wave, it’s a film that bears uncanny similarities to Blue Valentine, following a near-identical formula, different only in that the paramount relationship at the core of this narrative is flailing for different reasons. Even the male protagonist’s progressive hair loss is identical to Ryan Gosling’s in the Derek Cianfrance movie. Just shave it off mate.
The aforementioned, balding individual is Toma (Mircea Postelnicu), who falls hopelessly in love with Ana (Diana Cavallioti) – a likeminded student who shares a passion for literature. Coming from different social backgrounds, and with two sets of parents refusing to accept their child’s new partner, the hardest obstacle for the couple to overcome is Ana’s illness,...
Having picked up the Golden Bear with his preceding endeavour Child’s Pose, auteur Calin Peter Netzer returns to the Berlinale with Ana, Mon Amour – and while belonging to the quite remarkable Romanian New Wave, it’s a film that bears uncanny similarities to Blue Valentine, following a near-identical formula, different only in that the paramount relationship at the core of this narrative is flailing for different reasons. Even the male protagonist’s progressive hair loss is identical to Ryan Gosling’s in the Derek Cianfrance movie. Just shave it off mate.
The aforementioned, balding individual is Toma (Mircea Postelnicu), who falls hopelessly in love with Ana (Diana Cavallioti) – a likeminded student who shares a passion for literature. Coming from different social backgrounds, and with two sets of parents refusing to accept their child’s new partner, the hardest obstacle for the couple to overcome is Ana’s illness,...
- 2/21/2017
- by Stefan Pape
- HeyUGuys.co.uk
With the 2017 Berlin International Film Festival wrapped, we’ve highlighted our favorite films from the festival. Make sure to stay tuned in the coming months as we learn about distribution news for the titles. Check out our favorites below, followed by our complete coverage, and one can see the winners here.
Ana, mon amour (Cãlin Peter Netzer)
We only hurt the ones we love, or at least it seems that seems to be the norm in Cãlin Peter Netzer’s latest film, a cerebral examination of love in decay that appears to be the Romanian New Wave’s (if we can still call that) answer to Derek Cianfrance’s Blue Valentine. Romping, eroding, and unraveling over the course of about a decade or so, Ana, mon amour (Netzer’s first film since winning the Golden Bear back in 2013 for Child’s Pose) concerns itself with the doomed romance of Tomo...
Ana, mon amour (Cãlin Peter Netzer)
We only hurt the ones we love, or at least it seems that seems to be the norm in Cãlin Peter Netzer’s latest film, a cerebral examination of love in decay that appears to be the Romanian New Wave’s (if we can still call that) answer to Derek Cianfrance’s Blue Valentine. Romping, eroding, and unraveling over the course of about a decade or so, Ana, mon amour (Netzer’s first film since winning the Golden Bear back in 2013 for Child’s Pose) concerns itself with the doomed romance of Tomo...
- 2/20/2017
- by The Film Stage
- The Film Stage
We only hurt the ones we love, or at least it seems that seems to be the norm in Cãlin Peter Netzer’s latest film, a cerebral examination of love in decay that appears to be the Romanian New Wave’s (if we can still call that) answer to Derek Cianfrance’s Blue Valentine. Romping, eroding, and unraveling over the course of about a decade or so, Ana, mon amour (Netzer’s first film since winning the Golden Bear back in 2013 for Child’s Pose) concerns itself with the doomed romance of Tomo (Mircea Postelnicu) and Ana (Diana Cavallioti) from their very first sexual encounter (self consciously talking philosophy in their university dorm room before taking things up a notch) to marriage, child birth, and ultimately, disaster.
Our star-crossed lovers, we soon learn, are from very different backgrounds. Ana is the daughter of working class Moldovan immigrants and Tomo is...
Our star-crossed lovers, we soon learn, are from very different backgrounds. Ana is the daughter of working class Moldovan immigrants and Tomo is...
- 2/20/2017
- by Rory O'Connor
- The Film Stage
Like most failed relationships, “Ana, Mon Amour” opens with a sustained burst of promise and potential before settling into a repetitive, tedious pattern, and stays in that register way too long. By no means a failed film, this two-hander about toxic-codependency from Romanian director Călin Peter Netzer is best in small-moments and insightful asides, but does a disservice to the relationship at its heart by honing in on one single thought and hammering it home again and again and again.
The film quite literally starts mid-sentence. As we pick up, lit-undergrads Ana (Diana Cavallioti) and Toma (Mircea Postelnicu) are in heated philosophical debate. Netzer’s shaky hand-held camera holds the two in quick, close shots as the young students tear through Nietzsche, though it’s clear from the look in their eyes that both would rather be tearing off each other’s clothes. Soon they’re doing just that, but...
The film quite literally starts mid-sentence. As we pick up, lit-undergrads Ana (Diana Cavallioti) and Toma (Mircea Postelnicu) are in heated philosophical debate. Netzer’s shaky hand-held camera holds the two in quick, close shots as the young students tear through Nietzsche, though it’s clear from the look in their eyes that both would rather be tearing off each other’s clothes. Soon they’re doing just that, but...
- 2/18/2017
- by Ben Croll
- Indiewire
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