Nu astepta prea mult de la sfârsitul lumii

A simple premise injected with a monstrous concoction of influences, political quips and experimental ideas. A book by conceptualist poet Ken Goldsmith is put on display, Uwe Boll cameos, and such statements abound. The main plot seems a pastiche of social realists like the Dardennes and Kiarostami, distant ancestors like Fellini and Akerman, and the final sequence cites Jude's own "Happiest Girl in the World". The taxi-driver interjections don't work, but the fails seem part of the fun.

so so cool, the kind of movie that gives you hope and brings you down to earth at the same time. Makes me feel lucky to be Romanian and get to appreciate the "vulgar" stuff at its full potential

Fatigue

Once you're over the hurdle of its form and initial vulgar stupidity, it's an addictive piece of experimental mayhem about our phony corporate world, the capitalistic doom and systems of greed that are there to destroy us, social media, to name just a few. The director's way of showing us this form of torture and exploitation is crassness and depicting the absurdism, in an A+ delivery by Ilinca Manolache. Loved the nazi references. A very fitting tribute to the terminal illnesses of our time

(193)

This overlong satire tries to check viewers' limit - can you stand the test of time, with running time over 2h 40 mins? It feels like more and more contemporary directors could use some editing skills without compromising the overall quality. Or maybe Jude wanted us to feel what a 16-hour shift looks like? Good that he did not take it literally into 16 hours! The humor works great quite often. Repetitiveness not so much. Black and white overexposed shots in the car are also great.

This film is Hard! The experimental art segments and 80's footage might have been removed without great loss, but I'm glad they weren't (the imperfect collage of ideas feel like they openly reach out to the viewer). It's rare to see incredibly long one-shots that don't feel like the director is simply showing off: here, the bookending is one such example and is powerful because of it.

I saw half of this film at the Helsinki Film Festival. After only an hour, the movie projector shut down and they were unable to show the end of the movie. The beginning didn't really ensure that I would enjoy the story of the movie...

Among contemporary directors Jude understands the most about our current political predicament and the aesthetic regime in which it unfolds. He successfully incorporates new media and forms into his cinema, as he embraces both the regressive and progressive aspects of them. Here, the driver girl is a sort of lumpenproletariat, educated yet detached from any traditional class struggle, yet she performs a parodic critic of our culture of political spectacle. Definitely original.

audiovisual 84 acting 90 overall feeling 86 avg 87; czy był momentami męczący? niesamowicie, ale czy też pokazywał idealnie realia późnego kapitalizmu we wschodniej Europie? także niesamowicie; proszę mieć na uwadze, że w moim rankingu filmów, gdzie ludzie najczęściej opuszczali seans w trakcie, zajmuje drugie miejsce

Like It's the End of the World and I Gotta Fucking Go to Work? Fuuuck, the movie. Gotta love Jude's provocative way to look at things -- from the precarization of work, which certainly got worse after the pandemic, to how big corporations will use everything they can to exploit workers, their bodies, their soul, their stories -- even when it's bloated and scattered. Wickedly funny all the way. A main character who's just one of us these days: she can't stop making jokes about our impending doom.

Uwe Boll: "So I said "Look, guys, if you want to destroy me, I'll destroy you in the ring." And then they came and I smashed them."

Radu Jude don’t need a weatherman to know which way the wind blows

61st nyff