Cristina Grosan avvia le riprese del suo primo film, Things Worth Weeping For
di Vassilis Economou
- La regista ungherese-rumena tratta i problemi della "crisi del quarto di secolo" nel suo dramma di formazione millennial autoironico
Questo articolo è disponibile in inglese.
Hungarian-Romanian filmmaker, visual artist and Berlinale Talents alumna Cristina Grosan is known for her well-travelled and award-festooned short films, with Holiday at the Seaside being one of her most successful to date. Grosan has just commenced the shoot for her debut feature, Things Worth Weeping For, an absurd, self-deprecating coming-of-age dramedy that deals with the problems of the “quarter-life crisis” while lamenting the struggles of the millennial generation.
Things Worth Weeping For follows 30-year-old Maja, who is finally going through some important changes in her life. She ups and leaves her student flat, where she has been living with her boyfriend and her university colleagues since their studies, as she now has her own flat – and a 30-year mortgage. She is also switching to a fixed-income job and ditches her freelancing career, and now Maja feels more mature than ever. This will all change abruptly when, by chance, she stumbles upon the dead body of a distant relative. After witnessing death and spending an entire night watching over the body, Maja will start anew, abandoning all of her previous plans.
The script was co-penned by Grosan and Nóra Rainer-Micsinyei, who also plays the lead role of Maja in the film and has previously teamed up with the director on her shorts. The rest of the cast includes Barna Kelemen Bányai, Júlia Huzella and Judit Hernádi. Award-winning cinematographer Márk Györi (Katalin Varga [+leggi anche:
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scheda film]) is lensing the picture, and Anna Meller is on board as the editor.
Budgeted at €300,000, Things Worth Weeping For is being produced by Judit Stalter, of Laokoon Filmgroup, which is best known for staging Son of Saul [+leggi anche:
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scheda film] by László Nemes. The film has received the support of the Hungarian National Film Fund’s Incubator programme, which is used to finance micro-budget films (see the news). According to the production schedule, the shoot should wrap by the end of the spring, and after the editing stage, the film will be in post-production until the end of the year, with a release slated for next year.
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