OPENING Event

WEDNESDAY / December 11th / CinemaPRO / 7:00pm / ROMANIAN PREMIERE, with the participation of the director





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THE ZERO THEOREM (107', UK / Romania / France, 2013)

Director: TERRY GILLIAM

With the support of:

   

“Unmistakably a film by TERRY GILLIAM, whose humorously futuristic visuals expressively mock the commercialized, big business, computer-ridden life of today.” (Deborah Young, The Hollywood Reporter)

 

“Franz Kafka is alive and well, striving in the 21st century and making films under the name of TERRY GILLIAM. His inimitable visual style is once again at work, dressing Pat Rushin’s script to look like a surrealistic combination of old and new, real and imaginary, futuristic and outdated at the same time.” (Dan F─âinaru, Screen Daily)

 

Filmed last year in Bucharest and world premiered at the Venice International Film Festival 2013, the retro-futuristic science fiction film THE ZERO THEOREM is a biting satire of our commercialized and computer-ridden contemporary world, painted in Orwellian tones. Echoing his earlier BRAZIL, the movie is drawn in a familiar GILLIAM-esque manner, with its odd-ball humour and eccentricity, its array of circus-like characters and contrasts of low-tech futurism and decaying classical decors. In a world of technological clutter and noise, in which outdoor advertisements  some promoting the church of Batman the Redeemer – follow you on the street, and one is never left a moment to himself, Qohen, a socially maladjusted cubicle zombie and eccentric computer genius, struggles with his faith in his own destiny. Plagued by existential angst, he waits for a call that is supposed to give his life meaning, while he works on the Zero Theorem, a mysterious project aimed at proving that the entire existence, the whole universe, himself included, has no purpose. GILLIAM ventures and asks some of life’s major questions - does human existence have any meaning, how to address the contemporary crisis of spirituality, how can we ever preserve our privacy in a world of connectivity, are we able to really live in the moment, or are we engulfed by the virtual world  and then takes a step back, letting Qohen and, implicitly, the viewer take a deep thorough look at themselves. And, as with any deep soul-search, the end is bound to unveil a surprising answer.