SCFZ

Moldova-Film was founded in 1947 in Chişinău as a branch of the Central Studio for Documentary Film. In 1949 the branch was taken over by the Odessa Film Studio and in 1952 became an independent film studio as the Moldovan Newsreel Documentary Studio. In 1957 the studio was reorganized and renamed into Moldovan Studio for Feature and Newsreel Documentary Studio, or Moldova-Film.

V. Sevelev became the first director. January 24, 1957 the branch was transformed into a studio of artistic and documentary movies and was called "Moldova-Film". During Soviet times, five artistic units made part of the company: "Arta", "Lumina", "Luceafarul", "Panorama", "Steluta", producing every year up to six long play movies (three of which under order of the Central Television), four cartoons, 25 documentaries and 20 scientific and educational films, as well 12 issues of cinema magazine Soviet Moldavia and six copies of humoristic magazine Usturich.

The documentary Moldova 89-91 presents the thread of events through which the neighboring state gained its independence with the collapse of the USSR. Thus, the film features politicians such as former presidents Mircea Snegur and Vladimir Voronin and former Deputy Prime Minister Iurie Rosca, along with many other witnesses and participants in the events of the formation of the Republic of Moldova as an independent state. And, of course, each of them has its own version of history.

He was the third President of Moldova from 2001 until 2009 and has been the leader of the Party of Communists of Moldova (PCRM) since 1994. He was Europe's first democratically elected communist party head of state after the dissolution of the Eastern Bloc.

Though Voronin identifies himself as a left-wing politician, he is strongly conservative on social issues. He is against immigration and he rejects the building of mosques in Moldova, as well as LGBT rights. His remarks towards the African-born activist John Onoje: "They (the ruling parties) brought here a Negro, who'd just climbed down from a tree, and now he's doing politics for them."

Vlad Bilețchi, leader of the Alliance for the Unification of Romanians (Alianța pentru Unirea Românilor - AUR) party, demanded that Voronin's words that “with the arrival of NATO” ‘brown children’ will be born in Moldova” be recognized as xenophobic and racist.

Joanne Richardson was born in Bucharest, Romania, and emigrated with her family to New York when she was nine years old.
In 2000 she quit her PhD studies and returned to Romania to co-found the media activist NGO “D-Media” in Cluj.
She lives and works in Berlin and Cluj.

Inspired by Chris Marker’s Letter from Siberia, this journey to Moldova is narrated through ten letters that reflect on the collapse of the Soviet Union, the contradictory nature of the current power of the communist party, and the uneasy proximity between post-colonialism and nationalism.

On another level, Letter from Moldova is a travelogue that brings to light the problematic nature of travel discourse and its affirmation of cultural superiority by portraying traveling to the East as a journey back in time.

Language is a unique gift,
unequal, given from the spheres
and used painstakingly and with dedication by its users.
Hundreds of years,
despite the efforts to alienate the ancestral dialect or mutilate it,
the people did not lose its effigy of sound
given to them once and for good.

On 23 August 1939, the Soviet Union and Nazi Germany signed the Molotov–Ribbentrop Pact,


a non-aggression treaty that contained an additional secret protocol with maps in which a demarcation line through Eastern Europe was drawn and divided it into the German and Soviet interest zones. Bessarabia was among the regions assigned to the Soviet sphere of interest by the Pact. Article III of its Secret Additional Protocol stated:

With regard to Southeastern Europe attention is called by the Soviet side to its interest in Bessarabia. The German side declares its complete political disinterestedness in these areas.

Assured by the Molotov–Ribbentrop Pact of Soviet non-interference, Germany started World War II one week later by invading Poland from the west on 1 September 1939. The Soviet Union attacked Poland from the east on 17 September, and by 6 October, Poland had fallen. Romanian Prime Minister Armand Călinescu, a strong supporter of Poland in its conflict with Germany, was assassinated on 21 September by elements of the far-right Iron Guard with Nazi support.

On 2 June 1940, Germany informed the Romanian government that to receive territorial guarantees, Romania should consider negotiations with the Soviet Union.

On 22 June, France, a guarantor of Romanian borders, fell to Nazi advances. This is considered to be an important factor in the Soviets' decision to issue the ultimatum.

On 26 June 1940, at 22:00, Soviet People's Commissar Vyacheslav Molotov presented an ultimatum note to Gheorghe Davidescu, the Romanian plenipotentiary minister to Moscow, in which the Soviet Union demanded the evacuation of the Romanian military and civil administration from Bessarabia and the northern part of Bukovina.

On 27 June, Molotov declared that if the Romanians rejected Soviet demands, the Soviet troops would cross the border. Molotov gave the Romanian government 24 hours to respond to the ultimatum.

On the morning of 28 June 1940, following advice by both Germany and Italy, the Romanian government, led by Gheorghe Tătărescu, under the semi-authoritarian rule of Carol II, agreed to submit to the Soviet demands. Soviet forces also occupied the Hertsa region, part of the Romanian Old Kingdom, which was in neither Bessarabia nor Bukovina.

He is described as a hoarsely-voiced king with the power to make men invisible and ruling over sixty-six legions of demons. The Lesser Key of Solomon describes him as appearing in the form of a cat, toad, human, some combination thereof, or other "diverse shapes", while the Pseudomonarchia Daemonum and the Dictionnaire Infernal state that he appears with the heads of a cat, toad, and human simultaneously.

Holdrüholoheuho wrote: ↑Wed Nov 06, 2024 3:13 pm it's probably well-known trivia that this region's main language/political split is between Moldova (Romanian-speaking & Romania-leaning) and Transnistria (Russian-speaking & Russia-leaning).
but besides this main dichotomy, there is a (Turkic&Russian-speaking & Russia-leaning) autonomous territorial unit called Gagauzia.
→ https://en.wikipedia.org/wiki/Gagauzia

Gagauzia is a region of the most unknown country in Europe, Moldova. A place, most people are eager to leave. Some stay though. Vasili was left behind. His wife went to work in Turkey 6 years ago. Their son Sergei hasn't heard from her ever since. Anna cannot leave behind her past, cannot leave behind her roots. And Manjul never wanted to leave in the first place. He finds freedom in this restricted place.

According to Astrid Menz ("The Gagauz between Christianity and Turkishness", 2007):

Older ethnographic works such as Pees (1894) and Jireček (1891)—both covering the Gagauz in Bulgaria—mention that only their neighbors used the ethnonym Gagauz, partly as an insult. The Gagauz themselves did not use this self-designation; indeed, they considered it offensive. Both Pees and Jireček mention that the Gagauz in Bulgaria tended to register either as Greek because of their religion (clearly an outcome of the Ottoman millet-system) or as Bulgarian because of the newly emerging concept of nationalism. According to Pees informants from Moldova, the Gagauz there called themselves Hristiyan-Bulgar (Christian Bulgar), and Gagauz was used only as a nickname (Pees 1894, p. 90). The etymology of the ethnonym Gagauz is as unclear as their history. As noted above, they are not mentioned—at least not under that name—in any historical sources before their immigration into Bessarabia. Therefore, we have no older versions of this ethnonym. This, combined with the report that the Gagauz felt offended when called by this name, makes the etymology somewhat dubious.

Holdrüholoheuho wrote: ↑Sat Nov 02, 2024 11:44 am i usually watch the films in the same pose this lady assumed while listening to a young libertine telling his tales of seduction

This crackling noise. How beautiful!
Such great warmth from this fire.
Once we spent the night in the taiga.
It was about minus 30 degrees.
We made a big fire.
A very very big fire!
We spread the ashes of the fire and put our sleeping bags on that spot.
Like this, we spent the night in the taiga.
That was romantic.

Mario Gaborovic wrote: ↑Tue Nov 12, 2024 2:50 pm https://www.imdb.com/title/tt0172681/

Red Meadows is translated, too.

In a poor country obsessed with making easy money, 100 bucks are enough to lose your mind for a couple of minutes.
The members of a rock band come up with a bet.

Three troubleshooters are sent into a remote field to fix a broken cable.
The cold, too much ardour and a little bit of vodka will make their work useless.

A bored mayor, his assistant, and a community cop set out looking for inspiration.

There’s no man in our state
With such wisdom, full of vim,
Our mayor’s brought by fate,
We will only vote for him!

He brought gas to our homes,
Good and kind like Harry Potter
Wise and smart like Sherlock Holmes
He gave us soap and water!

You, the Mayor’s evil foes,
Can’t you see, or are you blind?
Decency is on the grow,
Glory comes to humankind!

Child and elder, everyone,
Know that now, in our village,
Life is not tough, it's fun!
And there’s no more place for pillage!

https://www.imdb.com/review/rw4336579/? ... urv_perm_4

THE SHOOTING PARTY, aka. A HUNTING ACCIDENT is Soviet filmmaker Emil Loteanu's cinematic interpretation of Chekhov's only full-length, eponymous novel, and the final product is as sumptuously alluring as it is melancholically tedious.


The plot centers around a 19-year-old bombshell Olga (Belyaeva), the daughter of a forester, playing the field between three older men who are besotted with her, Count Karneyev (Lavrov), noble widower Urbenin (Markov) and our protagonist the court investigator Kamyshev (Yankovsky), only the latter she truly loves, but oscillating between financial security and veridical feelings, she makes many a decision against her best judgement, until a hunting accident brings down the curtain on her transient life, but the guilty party gets off scot-free, much obliged to her own withdrawal of the information in extremis.



By meting out punishment to Olga as the token sinner and her husband a scapegoat taking the rap, Chekhov's novel ineluctably hews to that time-honored phallocratic presumption that it is any above-board man's poetic justice to penalize a wanton nymphet, and what rubs salt into the wound is that Loteanu's film is saturated with wandering male gaze and old-money decadence, a combo looks execrably unfashionable to today's ethos (or, on a less militant note, merely to this reviewer's lights).


The fact that a 16-year-old Galina Belyaeva (who would be endowed with the lofty epithet "Russian Audrey Hepburn") would soon be led to the altar by Loteanu, 25 years her senior, echos the director's own possessive infatuation with nubile youth, and their matrimony lasts only 5 years, which says much about the treacherous nature such union implicates.


For all its lyrical longueur, loosey-goosey character arc and an unsavory surplus of machismo that mingled with aristocratic dissipation, THE SHOOTING PARTY has its own merits, both for its production value and aural abundance, not least Eugene Doga's consecrated wedding waltz, and the cacophony invoked by a cohort of Gypsy musicians is so discordant that it is tenaciously embedded in the mind.

An assessment published by New York University's Literature Arts & Medicine Database notes:

"The Shooting Party is neither a great novel nor a great mystery story. However, its merits go far beyond the usual attribution of juvenilia by a great writer. First, the story itself is ingenious. In its innovative structure, the book prefigures Agatha Christie's most famous novel, The Murder of Roger Ackroyd written 45 years later. Christie's novel caused a sensation with its narrator-as-murderer plot device."

The film ran into censorship difficulties because of its bleak view of love in the Soviet Union, and the director was only able to complete his preferred version in 1992.