The film fiercely reminds us that without investigative reporting there’s no democracy.
Porumboiu discusses the links between his latest and Police, Adjective, the so-called “Romanian New Wave,” and more.
Corneliu Porumboiu’s film is very much a genre exercise, and a particularly Soderberghian one at that.
Corneliu Porumboiu’s documentary is ultimately a paean to (and warning against) expectation.
The film is no thriller, but there are moments here that inculcate the stakes with prisoner’s-dilemma paranoia.
On the festival circuit at least, every calendar year starts with a bang.
Corneliu Porumboiu’s The Second Game is a fine example of an impulse toward meta-narrative that has recently reinvigorated the nonfiction form.
Romanian writer-director Corneliu Porumboiu’s wry and cryptically titled film is both oblique and about obliqueness.
Exhibition is a pained and probing study of a couple’s declining marriage.
A major film, and a troubling one, a key piece of the Romanian New Wave finally makes its way to home video.
In The White Ribbon, all feeling is stifled, and this repression breeds repression.
I can forgive Corneliu Porumboiu’s film for its didacticism because it feels well-earned.
Police, Adjective is really two movies, varying significantly in their degree of success.
With The Imaginarium of Doctor Parnassus, Terry Gilliam gets his Fellini freak on.
Corneliu Porumboiu’s film is a deadpan comedy that evolves into a wry, politicized examination of truth.