“HAVE YOU SEEN THE ROMANIAN MOVIE?” This somewhat improbable question began to circulate around the midpoint of the 2005 Cannes Film Festival. For some reason, the critics, journalists and film-industry hangers-on who gather in Cannes each May to gossip and graze rarely refer to the films they see there by their titles, preferring a shorthand of auteur, genre or country of origin (“the Gus Van Sant”; “the Chinese documentary”; “that Russian thing”). It’s a code that everyone is assumed to know, and in this case there was not much room for confusion. How many Romanian movies could there be?
More than most of us would have predicted as it turned out.
