
When a child steals candles from the cemetery, in order to provide some light means for his family sheltered into a damp basement of a block of flats, this circumstance can say a lot about the sufferance imposed by transition period of time in Romania. This child is one of the seven that Maria has got. She is a 33 years old ordinary woman, whose husband (Ion) is unemployed and has become a drunkard and violently acting, maybe because of his despairing and lack of prospective.
Directed by Călin Peter Netzer, Maria leans on a strong ensemble — Diana Dumbravă, Horațiu Mălăele, Şerban Ionescu — to carry a story that balances spectacle with character.
The film landed with audiences for its craft and performances, and remains one of the most talked-about drama titles of 2003.
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A few days before Christmas, having quit his job in Germany, Matthias returns to his Transylvanian village. He wishes to involve himself more in the education of his son, Rudi, left for too long in the care of his mother, Ana, and to rid him of the unresolved fears that have gripped him. He’s also eager to see his ex-lover Csilla and preoccupied about his old father, Otto. When a few new workers are hired at the small factory that Csilla manages, the peace of the community is disturbed, underlying fears grip the adults, and frustrations, conflicts and passions erupt through the thin sliver of apparent understanding and calm.
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