Ionuț Mareș
Journalist and film critic. Curator for some film festivals in Romania. At "Films in Frame" publishes interviews with both young and established filmmakers.

Alexandru Belc: “I get my ideas when I sit down at my desk and start digging”

Oana Giurgiu: I hate this approach “it’s not how you do things”

“The Man and His Shadow”. The Wind of Change

Dragoş Hanciu: “What I like about documentary film is that things happen anyway and it’s up to you to capture and shape them”

Adrian Titieni: “A character doesn’t replace your identity, it complements it”

Ana Dumitraşcu: “Through acting, I always discover new things about myself”

Radu Muntean: “It’s important to be honest with yourself and not make films just for the sake of it”

Marina Palii: “Acting is a form of freedom”

“Lebensdorf”. Prudent

Cristina Groşan: “I don’t want to make films just for myself”

Sebastian Mihăilescu: “Making films helps me live in the present moment, otherwise, I would go insane”

Alina Grigore: I would have made “Blue Moon” no matter what

Victor Rebengiuc, an exemplar of long-haul professionalism

Turning a teenage trauma into a Venice-winning debut

“Wild Romania”. Spectacular, yet harmless

Eugen Jebeleanu: “We need to shake the audiences up through stories they haven’t had access to before”

Conrad Mericoffer: “I have several inner worlds and if I don’t express myself, I’m overcome with anxiety”

Carla Fotea: “Film production comes to ego, resource and time management”

When passion, determination and talent get you to Cannes. An interview with Ana-Maria Gheorghe and Andrei Epure

Ana Radu: “Acting makes me feel safe. It gives me courage and freedom”

Call for courage – A review on Romanian film

Alexandru Ion: ”If you’re concerned with what others may think of you, you’re on a slippery slope”

Alma Buhagiar: “I want my films to have therapeutical value”

Valentina Iusuphodjaev, the director of Moldova Film Center: “There is need for a film community”

Cecilia Felméri: “I like making films because I have to be prepared one hundred percent – both emotionally and intellectually”

Ioana Grigore: “The documentary film writes itself in editing”

Stefan Azaharioaie, sound designer: “Paying special attention to sounds is extremely important”

Olga Lucovnicova, a Golden Bear-winning director: “I wish a New Moldovian Wave would emerge as well”

Alina Manolache: “I like to believe that my work could stand as some kind of archive in the future”

Silvana Mihai: “The camera is my partner, always on my side”

Bogdan Jitea: “The Romanian National Cinema Epic has created a distorted image of our national history, which has been perpetuated long after 1989”

Tudor Panduru: „Being a cinematographer helps me get answers to some questions”

Anda Ionescu: “As a producer, I like to work on films that explore my own pursuits, as well”

Andra Tarara: “It’s emotional expensive to make documentaries about relationships in your own family”

Andrei Rautu: “As an artist, I think it’s essential to do your best not to fall apart”

Ioana Bugarin: “Acting helps me understand myself”

Paul Muresan: “Making animation entails spending a lot of time just with yourself, and you need to make it through this hell”

Alex Traila: „Romanian cinema has an image problem”

Alexandra Alma Ungureanu: “In creating the costumes for a film, anchoring the character in its environment is essential”

Alina Serban: “I’m looking for a chance to receive the microphone and an equal place at the table”

Ruxandra Ghitescu: “I’m interested in that kind of film which makes me discover something about myself”

A different kind of TIFF

Ana-Maria Comanescu: “I’m fascinated by the escapism of cinema”

Boróka Bíró, cinematographer: “I prefer that type of image which is more sensitive”

Laura Pop: “For me, animation film is a therapeutic process”

Octav Chelaru: “If you want to make films, you need to understand what this world is about”

Andreea Bortun: “For me, cinema is the most complex environment that helps me understand the reality around me”

Sarra Tsorakidis: “Making films, I just love it”

Alexandru Dumitru, sound designer: When I work on too many realistic films, I feel the need of a horror

Maria Dragus: “Acting makes me very happy”

Tudor Platon: “In working out the cinematography for a film, I try to gather as much information as possible”

Andreea Ionescu-Berechet: „Divas used to promote the idea of capability”

Carmen Tofeni: The eye of the camera operator must be the eye of the whole film

Cristian Bota: „A valuable actor is like a chameleon capable of changing in any second”

Ilinca Hărnuţ: Nothing has helped me more in achieving a balance with myself than working in film

Letiția Ștefănescu: For me, what matters most it’s the emotion that comes through editing

Gabi Suciu: As a producer, you want to be involved in a film project from the very beginning, not just as an accountant

Cristina Haneș: Documentary film should reflect the experience of knowing people as much as possible

Bogdan Mureșanu: After the success with “The Christmas Gift”, I want to keep a clear mind and stay honest

Andrei Tănăsescu: “Curatorial predictability is the death of a film festival”

With Igor Babiac, on what it means to be a young film actor in the Republic of Moldova

With cinematographer Ana Drăghici, about how hard it is to make it as a woman in an industry dominated by men

Mihai Mincan: Powerful, heavy stories are told better through cinema than through journalism

Iulian Postelnicu: “Negative characters are more convincing”