‘Do Not Expect Excessive Anticipation From The End Of The World’ Review: Radu Jude’s Intricate Satire Leaves a Harsh Aftertaste – Locarno Film Festival

1 min read
‘Do Not Expect Excessive Anticipation From The End Of The World’ Review: Radu Jude’s Intricate Satire Leaves a Harsh Aftertaste – Locarno Film Festival

European cinema rarely has a direct impact on Hollywood, but when it does, it’s truly exciting. Take, for example, the connection between Denmark’s stripped-down Dogme movies and Steven Spielberg’s decision to go back to basics with “Catch Me If You Can.” Now, we have another potential game-changer in Romanian director Radu Jude’s follow-up to his award-winning film “Bad Luck Banging or Loony Porn.” While it may not reach a wide audience, this unapologetically unconventional and fiercely independent film could be a seminal moment in cinema history, blending discordant, Godardian subversion with darkly comic human drama in the style of Ruben Östlund.

The film’s introduction may seem like an academic exercise, but it’s actually a conversation with a 1981 Romanian film called “Angela Moves On.” Radu Jude takes inspiration from this film, using it as a jumping-off point for his own work. Just like the original Angela, played by Dorina Lazar, was a taxi driver in a country where such independence was rare, Radu’s Angela, played by Ilinca Manolache, is also an independent woman. However, her scenes are shot in stark black and white, contrasting with the rose-tinted portrayal of Bucharest in the original film.

Angela, a production assistant working for a low-budget film company, spends most of her time driving around Bucharest filming potential candidates for a health and safety video. As the only available driver, she navigates the crowded streets, fueled by coffee and facing confrontations that have evolved from chauvinistic to frighteningly misogynistic. Angela has become hardened to these encounters, much like the Angela of the ’80s.

Both films are rich in Romanian-specific details, but “Do Not Expect Too Much From The End Of The World” also touches on worldwide-topical issues. Angela creates an online persona named “Bobita,” using Andrew Tate’s features superimposed on her face to satirize sexism. The film also references current events like the crowning of King Charles, the rise of Revolut, and the war in Ukraine. In a meta-texuality twist, Angela even meets the fictional Angela from the original film, creating a poetic symbiosis between the two characters.

The younger Angela’s anger about her work situation and her outspoken thoughts on politics keep the first two hours of the film engaging. However, the story takes an unexpected turn when one of the subjects Angela has scouted starts filming his testimony. The film transitions into one-take territory, reminiscent of Corneliu Porumboiu’s “Police, Adjective.” These final 40 minutes bring us to a place we didn’t anticipate, leaving us pondering the film’s initially funny but ultimately troubling title: Is it really all downhill from here?

“Do Not Expect Too Much From The End Of The World” is a complex and often hilarious arthouse experiment carried solely by Ilinca Manolache’s unpredictable and captivating performance. It challenges our expectations and blurs the lines between the present and the past. As we watch, we can’t help but wonder what

Nora Delgado

Nora, an accomplished filmmaker hailing from New York City, transitioned into film journalism after studying journalism at Columbia University. Her experience as a director and screenwriter gives her a unique perspective when covering the latest film industry news and conducting insightful interviews.

Previous Story

Florence Pugh Shines in Zach Braff’s Raw and Candid Drama ‘A Good Person’

Next Story

Star Trek’s Collin Kelly, Jackson Lanzing, and Heather Antos Unveil Bold New DAY OF BLOOD Event

Latest from Blog

withemes on instagram