Obscur financial help

I want to make this underground film and I need a little help to gather some money to pay for a space and for small rentals that I can’t convince people to help me out of revolutionary conviction or belief in our ideas and direction of film.
Could you help me with 2,3 euros please,

Donations or any other help coming from you will add you to the secret group of those that will see the film, of those that will get inside news about the film. Photos, cast, rehearsals, making off. Deleted scenes.

qualiafilm.com/obscurfilmdonation [paypal]

Obscur 2.0 film help needed

We are getting ready for our new project #Obscur a crazy intimate transgressive underground film. With it we will finish a trilogy of the body. SleepAwake2012, #Beings2015, Obscur2016
[it would be great to partner-up with a #coproduction company for #distribution and #promotion of the film]
If you would like to keep in touch or help us, please follow our new page and contact us.
We need your help, support and share.
Any help from you with the promotion,
making, finding things cast and crew,
participate or share of this project, towards its completion,
will guarantee your access to the private screenings of the film through a secret group with exclusive access to the film and the process of making it.
Photos, info, videos, personal messages, meetings, special events and many more.
contact us at – paul at qualifilm.com

Why underground film?

De ce film? Well, pentru ca filmul ramine intact in timp si se cumuleaza. Pentru ca este un instrument de schimbare culturala ffff puternic. Pentru ca este mai sincer ca fotografia si mai echilibrat emotional ca muzica. Filmul le include pe toate si contine acela minunata inventie – povestea. Inventie care este cumva exteriorizarea organica a unui holism interior. Emotional, traditional, genetic, reactiv, rational, cultural. Povestea ne ajuta sa impartasim experiente comune si sa le descoperim. Filmul ne ajuta sa vedem si sa constientizam.
Its not about a better more efficient and successful life. But about a more meaningful and open life.

About Silence

What I am trying to learn, and what making films keeps on teaching me, is how to find, in what I don’t have, in what I can’t reach, the same reward and the same lessons and experiences as when you have all resources you need and desire, to achieve that inner universal revelations.
Step by step I understand that such a milestone, such an idyllic first doesn’t exist.
That what you don’t have is the same with what you have.
There is no redemption in the having the best.
There is no doom in not having.
Its all too simple and sincere to depend on outside conditions, circumstances, dynamics, threats, rewards or things.
All can be found in silence.
All can be shared in silence.
All can be revealed in silence.

Obscur Project Presentation

I feel from time to time the need to explain my projects, I feel that people will understand me better if I talk to them personally 🙂
Now I talk a little about our new space where I want to explore some of my ideas, in a owned space, no more running around asking people for borrowing theirs.
And also about our film project Obscur – a +18 film that so many people are afraid of. I try to ease their minds and suspicions.

Fundraising for Apologia

We are looking for a small financial support to make Apologia, a poetic non-commercial film in Bucharest. These money are for food and gas for our 10 days of filming, plane tickets for our international cast and rent for 2 of our locations and sound post-production.

Apologia – A multidimensional, multi existential story, about a mystical togetherness that is somehow broken and people have broken pieces in one another.

Please help us with our 3rd feature film. Films that we don’t use as products. Thank you.
Until now we’ve raised from amazing friends – 430 Euros out of the 3500 we need to start.

direct link to paypal donation – http://goo.gl/LLsLuL

or try a qualiafilm membership

or our affiliate stores – all you buy from there will reroute a small percentage to our fundraising.
AMAZON, F64(ro), EMAG(ro)
http://qualiafilm.com/?p=754

 

Bucharest Underground Filmmaking Meetup

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I am thinking about creating meetings with people interested about making, collaborating, helping, knowing more about small indie films, underground, experimental, poetic…
or anything that can be called outside of mainstream cinema.

on facebook
https://www.facebook.com/groups/973015472811912/

and a tumblr blog
http://ufilm.tumblr.com

and a newsletter
http://qualiafilm.com/blog/2016/06/17/ufilm-meetup-newsletter/

We are organizing a film night every Thursday in Bucharest at Plantelor 25
see about current film schedule on tumblr or facebook.

Cavity or Amala’s Obsession or Camera Mica synopsis

Cavity or Amala’s Obsession


painting by sabinasuru

O papusa este disecata si in ea sint organe de om.
“Bucuresti the place of my nightmares.”
Amala si John se intorc in Bucuresti. Amala este romanca si s-a maritat cu John in Anglia si au si un copil mic. Amala revine in Romania pentru a-si vizita rudele cu micul ei copilas dar si pentru a incerca de al gasi pe Morven, marea marea ei dragoste de care s-a despartit foarte brusc si violent si din cauza careia a ramas cu niste foarte dureroase halucinatii si crize.
Vilho fratele ei mai mare si cu care are o relatie foarte intima dar si de ura reciproca ii spune ca Morven a murit.
La intilnirea cu parintii, o intilnire chinuita si falsa unde cu totii se chinuie sa fie normali desi nu pot. Unde tatal Amalei este un mare artist sculptor in adinca depresie care face mii si mii de pestisori de lemn de ani si ani de zile. Unde afla ca Om sora ei mai mare ii uraste pe toti si nu vrea sa ii mai vada. Amala lasa pe John si copilul acolo si pleaca pe neasteptatea.
Ajunge la blocul unde sta sora ei si desi Om ii spune si ea ca Morven este mort, si ca nu vrea sa o vada pe Amala. Amala se roaga de Om sa o lase sa stea la ea o vreme, cit il cauta pe Morven, fara sa stie nimeni. Aceasta accepta cu greu pentru ca Om este foarte chinuita in viata ei personala dar si a suferit mult la plecarea Amalei pentru ca Amala era cea mai buna si singura ei prietena in care se putea deschide si iubi complet.
Peste ele, in noapte apare Sinister, un partener al lui Vilho care ii spune Amalei ca defapt Morven traieste, dar ca si un mort. Sinister este trimit de Vilho pentru a o ajuta pe Amala sa treaca peste Morven, sa o ingrozeasca de cum a ajuns si cein a ajuns si sa se intoarca la familia ei. Continue reading “Cavity or Amala’s Obsession or Camera Mica synopsis”

Apologia v7 synopsis

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It all starts by looking down in deep waters and we see the title shining on the murky water. All of a sudden a white figure comes towards, us, towards the surface and comes out of the water. It is Jake. He swims to the shore where Gamma a little skinny girl is waiting. Jake comes out of the water but has no contact with Gamma, is like they are both unknown to eachother. And then we see trees moving in the wind, and big water flowing, and clouds and fog moving. In a dark room Otte is washing her paralyzed mother Imola. Near the bed on a simple chair there is the Professor, the confessor and adviser of Otte. The professor talks with Otte about living alone, and why it is impossible form Ottes body and mind. She wants to lose herself into another.
In the same night, in another part of town, Jake is working on 3 big monitors, at his research desk. Looking for something, trying to entangle an immense theoretical and scientific discovery. He thinks, he is bored, He works with passion. He lies on the floor. He throws papers away. In a dark corner of the room very quietly is Gamma. She ask Jake about why is she there, and they talk about the difference between object and vibrant presence. About a third existence.
Jake is sleeping and a computer message is waking him up and scares him. It is his friend Phil, also a scientist, that confirms him that his findings about a Global Magnetic Shift and thus physical laws in continuous change are correct. Phil invites Jake to come to their lab and work on it. Phil also confirms that the Shift is changing people’s behaviors and makes them weirder and more violent. Jake responds that he needs to save someone first, then he will go to them.
Jake goes to Otte’s home where she very hardly lets him in. She thought he was dead. She was just preparing herself something very raw and bloody thing to eat. He doesn’t want. They talk about their love for each other and how they keep it hidden. And how each one wants to become the other. Jake is let to stay only for one night. Continue reading “Apologia v7 synopsis”

oct 16 facebook notes

sex is the end of the road
it should be the beginning

sex is the end of the road
it should be the beginning

I really love you
is just that I don’t want to show it to you
its too lame
the idea of love has been stolen by ‘them’
I just show you my art
please open to it

should you chose to find the problem?
or the solution?

don’t you really feel
the light and warmth I hide in my darkness?
why are you still afraid?

I give you my body, my pain, my blood, my genitals
Its not enough Continue reading “oct 16 facebook notes”

Beings, review by Morgan Shnier

A breathtaking review by Morgan Shnier
https://www.linkedin.com/in/morganshnier

The 2015 film #Beings, Andrei Stefanescu’s second feature, is a partially experimental, partially narrative cinematic reflection on guilt, beauty, and obligation. The film tells the story of Eva (Doro Höhn), her estranged lover Teo (Catalin Jugravu), and their mutual friend Ana (Andrea Christina Furrer) who attempts to support the two as each falls into madness and melancholy. After Eva suffers a seizure, Teo kicks her out in a rage. Despite Eva’s efforts, they fail to reconcile, and Eva breaks down over the imperfections she sees in herself, imperfections that she believes prevent Teo from loving her. At the same time, Teo begins to mentally and physically break down. Ana, stretched between her friendship with Eva and her own love for Teo, attempts to help both of them, but is unsuccessful. Eva, wanting to escape her own skin, instead escapes from city life, at least for a moment, by lighting out alone into a decaying industrial wasteland, facing west toward the setting sun.

The film’s lead actors play their roles admirably. In particular, Höhn effectively and realistically portrays Eva’s anguish. Furrer should also be lauded for the subtleties of her performance. With subtle gazes and facial tics, she elegantly portrays Ana’s own suffering and anxiety.

Aesthetically, #Beings is perhaps at its best when Stefanescu allows the camera to linger upon his characters’ bodies. In carefully framed close-ups and medium shots throughout the film, Stefanescu traces the strange topographies of the everyday human body, treating the body as something observable yet unknowable. Early self-reflexive shots in the film’s opening scene subdivide actor Piotr Bockowski’s body like a series of anatomical diagrams. In contrast, certain shots of Teo in the film’s second half are almost painterly, with one sequence in particular heavily evocative of Jacques-Louis David’s La Mort de Marat.

Likewise, the film’s closing sequences in Teufelsberg are a practice in post-modern sublimity. While Stefanescu generally avoids traditional compositional structures in #Beings, these final shots have a classical, almost pastoral sensibility, with Eva bracketed on both sides by the derelict radar domes of the location’s former NSA listening station. This lends the scene an air of decay and suspicion entirely appropriate to Eva’s own feelings toward her own body.

However, #Beings is not without its faults. Stefanescu tends toward long shot durations that give the film a rather slow, halting rhythm that does not always jibe with the plot. Likewise, Stefanescu’s micro-budget aesthetic at times detracts from the film’s effectiveness. For instance, his handheld camerawork tends to give even calm, contemplative sequences a rather frenzied air. These scenes would have certainly benefited from a tripod or steadicam.

The film’s sound also has its issues. In most scenes, one can hear the distracting hum of an air conditioner or running water. The soundtrack to #Beings is a series of haunting industrial grinding tones that give an appropriate sense of paranoiac dread but, unfortunately, Stefanescu includes this track in scenes in which it is unnecessary, often drowning out or diluting the effect of the film’s dialogue.

That being said, the film’s beautiful aesthetics more than overcome these relatively minor foibles. #Beings, an excellent sophomore outing for Stefanescu, should not be passed up.

Beings review by Jimmy Lo

Our second review comes from another poet, his name is Jimmy Lo. It is so wonderful to find that the film you made is just seen by the wrong people. It is so amazing to see how value is nothing more than a collective, group characteristic, and has nothing to do with an universal outlook on life and living.
Giving the film to Jimmy to see and review, it was so wonderful to receive such a great feedback with a real passionate perception of it. It is amazing to see the open heart and mind of a person of which the entire life is build around keeping and opening his eyes more and more wider wider around the mystery of our life.
Thank you soo soo much Jimmy. You can find more about him on his blog, http://iloveyousomething.com/ or twitter https://twitter.com/jimmylorunning

This slow building film explores the strange relationship between three people, as well as their relationship to the spiritual. I found myself pulled into an enveloping mood of inner torture. There is a secret horror film brooding in the background here, thanks to some mysterious characters and an excellent soundtrack, which even includes howling dogs at one point. This creates an interesting cognitive disconnect, as the movie isn’t really a horror film in the conventional sense of the genre, but one about the horrors of being in the world, with other beings.

I really loved the slow pacing of the movie, as it was perfect for the type of questions being asked by the film. The camera lingers on the three main characters just long enough to be uncomfortable, then it lingers even longer. This is very much a movie about deep watching, even meditation. I found myself glued to every tiny movement, every twitch, look, and expression on the character’s faces for clues into their relationship. The long pauses and silences were very effective at bringing this about, and told more than dialogue would have.

I watched this movie as a poem, a poetic exploration of the irrational forces that drive us, and as such it was very powerful. However, I wish there was more of a balance or contrast in tone. I longed for something pedestrian or inconsequentially human as relief from the heaviness. In a way, its strength may also be its weakness. The movie seemed to have established a mood a little too well, and without any lighter moments, it became one extended musical note, getting more and more intense until the end.

I was quite surprised to find out that this movie had no budget, since it looks and sounds fantastic, and is very well acted. The last scene in particular is gorgeous.