Uşa (1993)

Děj

Two identical hotel rooms, two phone conversations, a single door and a single point of view from which all these glimpses of days in the lives of two strangers are captured: a man in transit through an unidentified provincial town (we only get to know that it's somwehere in the mountains) and a woman who came from far away to seek a better life, who makes love for money every night. The film's visual minimalism, the elliptic, fragmented narrative structure, the lack of a clearly-articulated theme turn this experiment into an early exemplar of a certain type of modernism, which would reach its peak in Romania only two decades later.