Igor Cabileanski talks about the world’s obstruction in Transylvania

The choice of the Romanian days for this year at the Transilvania Film Festival sees that national filmmakers are largely divided into two theme categories: fixed documentary films that look at Romania today and the films that are struggling with the country of Estati. However, Igor Cobilleski’s “coma” contradicts these pills in playing with the type of the story of the mother’s story that goes far to keep her troublesome son from going to prison – or much worse.

Talk to diverse Before the global film show in Klog, says Cabileanski-who extends his career for two decades and includes directing high-level projects such as “Shadows” and “Hackerville” from HBO-he is particularly concerned about his recent participation with the fans.

“As a cinematic director, you never know how the audience will interact, but with” coma “I do not know at all, and I feel that this is a test for me. I was so indulged in making it for many years to the extent that I had times when I was convinced that people would understand it, but I am looking to know that finally.”

“Comatogen” was organized in the classic “Rashomon” format for multiple self -viewing destinations for the same events, which take place for two days in Bucharest. It begins with Alina (Daniela Nan), a nurse who works with coma patients, who revitalizes a teenage love story with a Abhi real estate agent, a man who generously hiring her 20 -year -old son to fill a position in beginners in his agency. When her son steals a large amount of money from the new Beau, Alina is sent with a head of a downward spiral of despair that she will see as she concludes a dangerous deal with Mihaela (ADA LUPU), and she is the rich daughter of one of her patients.

It took a decade after a decade after a decade to get the movie. Work first started on the 2016 text program, but “he was not convinced that he was working” at that time, so he moved to other projects such as “The Eastern Affair” and “The Practice” while tampering with the film’s structure in the background. “When you develop a project, you sometimes spend a lot of time in a state of permanent change. Even when we started filming the movie, I still have questions.”

“I was very interested in religious hypocrisy, and at first I was only following us, who documented in God a lot, but because of the money, she was able to do something you did not think he was able to,” he added from those early inspiration. “So I started from an ethical problem, and after that, I started writing more characters and expanding this world to investigate the idea of ​​hypocrisy from different views. In all parts of the second draft, I began to think about how this hypocrisy affects each character in the movie and how to look at the way it happens.”

Playing with classic suspense elements and dumping his movie with a huge dose of violence and dread, spinners say these stylistic decisions are appropriate to the moral questions of the film. When asked about the current situation of the Roman cinema and its deficiency in the types of species, the Romanian -based Moldovan Director says that he does not believe that the country’s cinema “focuses on history and the past.”

“I know a lot of directors and films that speak to the present time through the type,” and confirms. ))

According to a variety of cinema in the country, Cobileanski presents a second movie in Cluj, which is the Madman, between the short films in the Roman days. The film was placed in Deir in 1992, immediately after the Roman Revolution, where men are required to evacuate the old building. They all do so, regardless of Madman Titular, which has a mysterious reason to stay behind them.

“We have worked on it as a pilot for a chain of anthology with independent episodes,” Cobileanski says, adding that unfortunately they could not find joint producers to take this series, but he fell in love with the idea and wanted to share it independently. “It is difficult to put medium -length films these days, so I am happy to display them in the festival. The presence of these two films in Translvania is a great way to show people how the different Roman cinema can be.”