Born in Moldova in 1991, she began training as an accountant when she was 16 but then quickly turned to photography. In 2011, she took up a degree in cinematography at the Academy of Arts in Chișinău. After graduation, she received a scholarship for the DocNomads Joint Master Degree in Documentary Filmmaking in Portugal, Hungary and Belgium. Her films, which particularly address social issues and aim to create a platform for discussion, combine a purely observational style with poetic elements focusing on human emotions.
What was your starting point for “Nanu Tudor”?
My film started with a wish to grow up and get rid of my childhood fears. It was a challenging, but very important journey for me. Tolstoy said, “All happy families are alike; each unhappy family is unhappy in its own way.” I would extend his quote and say that all families want to look happy, sometimes unconsciously sacrificing the loved once in order to hide horrible secrets. Then, the safest place in the world, our family, might become a cage of deep fears and anxiety.
It was a difficult decision to make this film, it meant to turn the whole world of my family, but if I was silent, I would go against myself, and this is probably the worst thing that could happen.
Do you have a favourite moment in the film? Which one and why this one?
Although, the production process was very difficult, I enjoyed each moment of it. It was my therapy, my relief, the rightest decision in my life. I learned how cinema can heal deep wounds and pain. My favourite moment in the film is when people watch it and understand what I wanted to say even better than I could formulate in a text form.
What do you like about the short form?
Short films are like censorship, the presence of limitations pushes the imagination to go beyond them. Often, short films are like questions or poems that keep the viewer in the film even after the end credits. They strike and hit right to the film core, bypassing meaningless scenes and shots.
Photo © Olga Lucovnicova