A good soul seeks absolution in the irreverent, savagely cynical ‘Kontinental ’25’

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Radu Jude is a daring and insightful Romanian filmmaker who fearlessly exposes hypocrisy, particularly within his own country. He’s quickly gained recognition for his bold and thought-provoking films, including the darkly comedic “Bad Luck Banging or Loony Porn” (2021) and the satirical “Do Not Expect Too Much From the End of the World” (2023), which offer sharp critiques of society.

Jude’s new work, “Kontinental ’25,” marks a change from the playful absurdity of his previous projects, like his unconventional take on “Dracula.” While he still includes surprising and unconventional elements – think robotic dinosaurs and historical footage – this story tackles serious issues like social responsibility and economic inequality. He’s allowing a more serious and thoughtful approach to convey his anger and frustration.

I was immediately drawn into this film by its quiet observation of a man, Gabriel Spahiu, living on the streets of Cluj, Romania. We spend the first ten minutes simply watching his day – collecting bottles, asking for spare change, and finding shelter in the basement of an apartment building. But things take a dark and unexpected turn when the authorities arrive to evict him. It’s not a simple eviction, though – led by a bailiff who seems to have a conscience, Eszter Tompa, and a team of masked officers, it becomes clear there’s a bigger, more unsettling force at play – a corporation eager to tear down the building and put up a fancy hotel.

Even though she was found legally innocent, Orsolya, a deeply religious and ethical woman, still feels responsible for a tragedy that could have been avoided. She understands how easily such things happen when powerful companies and uncaring politicians work together. To make matters worse, online nationalists are using the situation to attack her, portraying her – as a Hungarian native working in government – as an outsider and a threat.

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Deeply upset, she cancels her planned vacation with her husband and stepchildren. Instead, she seeks comfort and understanding by talking to people around the city – a close friend, a former student who now works as a delivery driver and practices Zen, and her priest – hoping to find answers to her sadness.

Jude enjoys long, witty conversations – a trait seemingly common among Romanian filmmakers. In this film, Orsolya’s genuine, though somewhat messy, quest for answers – powerfully portrayed by the lead actress – allows Jude to highlight the limitations of simple solutions. The film asks questions like: Does the convenience of donating through an app actually encourage generosity, or does it create more detachment? Does temporary work empower people, or simply serve as a stepping stone? Are religious stories meant to inspire action, or just provide comfort? And ultimately, is Orsolya truly seeking solutions, or just a way to feel better?

“Kontinental ’25” tackles serious and weighty themes. A poster for Roberto Rossellini’s film “Europa ’51” appears in the background of a bar scene – a nod to the classic story of a wealthy woman grappling with her own compassion. However, Jude’s approach is more blunt and straightforward than sentimental. Interestingly, he filmed the movie entirely on an iPhone, while also exploring how smartphones might actually make us less connected to the world’s problems.

Jude doesn’t fuss over the details of his work, and that’s because he trusts his art will leave you thinking deeply about the costs of moving forward, how the past affects us, and our efforts to make good choices in a flawed world. The film ends with a series of shots of buildings and apartments, mostly empty of people, prompting you to wonder if this represents development or a breakdown of community.

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2026-04-03 13:31