Watch Online Pozitia copilului 2013

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• MOVIE page: Pozitia copilului (2013)
• Rate: 7.8/10 total 1,129 votes 
• Genre: Drama
• Runtime: 112 min
• Budget: €850,000 (estimated)
• Director: Calin Peter Netzer
• Stars: Luminita Gheorghiu, Bogdan Dumitrache, Natasa Raab | See full cast and crew
• Sound Mix: Dolby Digital

Writing Credits By:

• Razvan Radulescu (screenplay) and
• Calin Peter Netzer (screenplay)

     

Story:

Produced By:

• Oana Giurgiu known as co-producer
• Calin Peter Netzer known as producer
• Valentino Rudolf known as line producer
• Ada Solomon known as producer

FullCast & Crew:

• Luminita Gheorghiu known as Cornelia Kerenes - Mother
• Bogdan Dumitrache known as Barbu - Son
• Natasa Raab known as Olga Cerchez
• Florin Zamfirescu known as Domnul Fagarasanu
• Ilinca Goia known as Carmen
• Vlad Ivanov known as Dinu Laurentiu
• Mimi Branescu
• Isfan Alexandru known as Octavita
• Adrian Titieni known as Father

Production Companies:

• Parada Film
• Hai Hui Entertainement (co-production)
• HBO Romania (in association with)

Pozitia copilului (2013) Review by Radu_A from Germany
If I'd have to put my money on which film will win the Berlinale thisyear, I'd say this one, and not because I was born in Romania and sharethe ethnic group of director Călin Peter Netzer (even though I cannotsay for sure that this fact does not influence my judgment).

The story: Cornelia, a middle-aged high society architect, is informedby her sister-in-law that her son Barbu has killed a child in a trafficaccident, and both immediately proceed to the police station where heis being held for questioning. They barge into the interrogation, allthe while phoning useful contacts, and manage to change Barbu'sstatement, after which they take him back to his parent's house. In thefollowing days, Cornelia develops various schemes to get Barbu off thehook of a trial, receiving unexpected support from Barbu's wife (orgirl-friend) Carmen, even though they thoroughly hate each other.

The accident itself is not the main story. It serves as a backdrop forhighlighting the blatant disregard of the rich for the poor, thepervasiveness of corruption in Romanian society, and to illustrate howpossessive and self-serving Cornelia is. Most screen time is devoted toBarbu's 'cutting of the post-natal umbilical cord', his sometimesdesperate, mostly half-hearted attempts to gain independence from hisoverprotective mother.

The strength of the film lies in the ambiguity of its characters,foremost Luminiţa Gheorghiu's Cornelia, which she brilliantly portraysas a vicious self-obsessed diva totally immune to the plight of others,and who is still thoroughly devoted to her son. The viewer is tornbetween disgust and pity for her, for instance, when stopping in frontof the killed child's parents, she exclaims 'Damn, it's one of thebetter houses', indicating that her only interest is to buy theparents' consent to revoke their claim against Barbu. Yet when sittingwith them at a table, she so tearfully describes her plight that onecannot help but feel moved. Barbu, on the other hand, is ahypochondriac and coward, who for most of the time cannot admit to whathe has done, but when he argues with Cornelia to back off, one cannothelp but wonder how he could have turned out any other way, given theobsessive nature of his mother.

The real icing on the cake, however, is a brief scene between Corneliaand the principal witness to the accident, whom she hopes to bribe.Vlad Ivanov (of 'Doctor Bebe' fame in '4 months 3 weeks 2 days') onceagain plays a cynical ruthless character who confronts the femaleprotagonist with the fact that the situation forces her to do preciselywhat he wants - well, maybe not quite. This scene is the best of anyRomanian film I have seen in the past five years and merits the priceof the ticket alone.

What may elude a non-Romanian viewer of this film is that the titleitself is also ambiguous, 'poziţia copilului' being a wordplay with'poziţia corpului', which means 'position of the body', a term used inpolice reports to describe the location of an accident victim whenfound. This recalls 'poliţist, adjectiv' by Corneliu Porumboiu, whichin 2009 won the Un Certain Regard Jury Prize in Cannes. That title isalso a wordplay, and Netzer shares many stylistic resemblances withPorumboiu.

If the film isn't perfect, then because of Netzer's tendency foremotional overkill; he rides his protagonist's credibility a little toohard sometimes, as in his debut feature 'Maria' (2003). However, thatfilm is still alive in my memory precisely because the misery of themain character was so all-encompassing, so he may be using exaggerationas an artistic tool. 'Child's Pose' is a little too obviously gearedtowards festival expectations rather than domestic audiences -Romanians tend to prefer their social criticism with a large dosage ofhumor, as in all-time favorite 'Filantropica' (2002) by Nae Caranfil.But since the acting is mostly nothing short of brilliant, thesecalculations do not harm the film's artistic value and social message.

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Pozitia copilului (2013) Review by JvH48 from Amersfoort, The Netherlands
I saw this film at the Berlinale 2013, as part of the officialCompetition. It won the Golder Bear, by the way, awarded as "Best film"by the International Jury. The average IMDb score of 8.7 from 145 usersconfirms this. The user reviews, however, are very extreme in bothdirections: 1 very positive, and 2 very negative. Mine is positive too,independently since my notes were written directly after the screening.

What struck me from beginning to end was that all facts and backgroundsof the respective characters were presented at the right moment,something that helps greatly in understanding how the narrative flows.Many other films leave us too much to outguess, even some fromexperienced directors and script writers who ought to know better.

The mother figure is set out from the start as someone who always getswhat she wants, either by pulling strings via someone she knowssocially or professionally, or by bribing people when the need arises.The openings scenes show her birthday party, where we see manyimportant people, setting out very clearly the social circles shenormally frequents. In the police station we see her using her"network" by contacting higher echelons to smooth the process. And shepromises a favor to one of the policemen whose house is threatened tobe torn down, since it is deemed too close to the beach as a result ofchanged housing rules, and as an expert (being an architect) she knowshow to bend the rules in such cases.

Of course, the best example of how she tries to adapt an unwelcometruth in her favor, is when she attempts to bribe the chief witness. Aninteresting negotiation process follows, making very clear to us thatshe is used to obtain the desired outcome much faster than is happeningin this case. Contrary to popular belief, money is not alwayssufficient. Her obvious contempt for people not belonging to her"class", proves to be a stumbling block here. Will she ever learn thatone can catch more flies with honey than with vinegar?? One of herobvious faults is exposed here.

But there is more along this line. A still more important shortcomingis her insensitivity for internal relationships within her family,firstly with her son who is a crucial factor in this story but not atall happy with her efforts to keep him out of jail, and secondly withher husband who admits to have been the lenient partner until now butis not prepared to go on like this. It takes her plenty of time tostart grasping what is happening here, proverbially as if her world iscrumbling down under her hands. It is obvious that she means well, buttrying to bend things her way seems a mere automatism, without evenbothering to ask if someone wants her meddling.

A mere side effect of seeing this film is that I forgot everything I'veever read about Eastern European countries, like inefficient policeforce, lazy bureaucrats, retarded technology, etcetera. This film showsthat all of this is not true. The police acts very competently, atleast in the scenes we see in this film, and we have no clue that thisis not standard operating procedure. Same applies to the doctor who wasneeded for the alcohol test, and the forensic expert who assesses thedamage of the car in order to draw conclusions about the accident.Moreover, technology (gadgets) wise it looks not different from what wehave here in Western Europe. In other words, sightseeing (more or less)this former communist country was an extra surprise for me.

Though reluctantly, a considerable part of the family travels to thehouse of the killed child to meet the parents. Their prime purpose wasto offer that they pay for the funeral, but effectively turning outvery different from the short, obligatory and cold visit theyoriginally had in mind. Judge for yourself when seeing this importantscene whether there is eventually a spark of human contact between thetwo families.

All in all, I have only positive things to say about this film. Icannot agree with any of the two negative user reviews on IMDb postedbefore. What else can I add, other than applauding the decision of theBerlinale jury and the high average score of 8.7 given by 145 IMDbusers.

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Pozitia copilului (2013) Review by catalinignat from Romania
Do you know these films where everything - acting, shooting, storytelling, directing - works together to emerge into a clear message?This is such a film.

Reading bad reviews upfront, was afraid about getting bored from beingtoo long, or dizzy from excessive use of hand held camera. Happy toreport none of them apply. Instead, last frame was finding me quitesurprised about how fast it was finished.

This film reminds me very much of "A separation" of Farhadi. Theytouched me in the same way, although the stories were different. Thatis because both stories are just recipients for emotions.

And in the end, this movie is full of emotions, human, universal,atemporal emotions. And that is what makes this film great.

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