Cristian Mungiu, 4 Months, 3 Weeks, and 2 Days

Photo Credit: Kathryn Durfee

by Lauren Kulwicki
04/26/2008

WINNER: 2007 Cannes Film Festival: Golden Palm
WINNER: 2007 Chicago Film Critics Association Award
WINNER: 2007 European Film Awards
NOMINATED: 2008 Golden Globes, USA

4 Months, 3 Weeks, and 2 Days is a film which reinforces the notion that in order to be heard, whisper. The film whispers through 113 minutes, allowing the audience to feel the internal struggles of the characters on their own without being steered a particular direction by the presence of ominous music or fancy camerawork. The camera never prods, but rather incorporates unhurried long takes throughout, acting as a silent, omniscient observer. In 4 Months, 3 Weeks, and 2 Days we are truly experiencing a day in the life; the authenticity of the setting and situations are crushingly realistic on their own.

The film is set in totalitarian Romania in 1987 and follows the lives of two University roommates, Otilia (Anamaria Marinca) and Gabina (Laura Vasiliu). The film opens by focusing on two goldfish idly swimming around a glass fish tank. The camera then invites the audience into the story by following Otilia unassumingly around her dormitory. Otilia takes her time wandering down the hall in and out of dorm rooms and one can be struck by the realistic images of an ordinary University day. After a few moments it becomes clear that Gabina is packing for a journey of some kind and Otilia is accompanying her. Their seemingly lackadaisical mannerisms lure the audience somewhat to safety but an underlying sense of unease keeps the slow pace intriguing. There is no question that this plot is headed somewhere. The camera silently trails Otilia as she enters various hotels looking for a vacant room. With the introduction of the foreboding Dr. Bebe, the situation becomes clear: Otilia is helping Gabina take the steps to terminate an unwanted pregnancy.

Gabina is completely avoidant and seems unable to cope with the unfortunate situation, thus leaning on Otilia to make all arrangements for her. Gabina is self-centered but her naivety softens her flawed personality and enables us to better understand the depths of her character. In contrast, Otilia is strong and selfless, even providing her body as payment for the pricey abortion. Dr. Bebe mercilessly dehumanizes Otilia and Gabina before performing the procedure and it is in the preceding private moments when we witness how differently each deals with the rape. Gabina sobs loudly as she sits in the bathtub, washing herself in vain. Otilia sits motionless with her back to the camera listening to the steady drip of a leaky faucet. The camera performs its most dramatic moment in a sudden cut to Otilia washing her face at the sink. The contrast of the rhythmic drips to the harsh blasting water jolts the audience uncomfortably and the gravity of the situation finally sinks in.

After the abortion the film’s pace picks up slightly and suspense builds as the audience worries about the effects of the procedure on Gabina. Dr. Bebe’s ominous warnings about the dangers of abortion hang in the air as Otilia is forced to leave Gabina alone and attend a family dinner with her boyfriend. She sits isolated at the table, sandwiched between her boyfriend and his family members as they socialize. This scene is excruciating to sit through because we are forced to listen to their irritating, mindless chatter for what seems like an eternity. The dinner party was clever on director Cristian Mungiu’s part because it stops the action and intentionally goes on just long enough for the audience to feel annoyed and frustrated. Upon later reflection, it becomes clear that the audience is led to feel the same as Otilia, forced to sit through a dawdling dinner when our minds are on more important matters.

When Otilia finally gets back to Gabina, the danger has passed and replaced by the shocking image of the aborted fetus laying on the bathroom floor, which is enough to make even the most stoic cringe. There is no relief. “Get rid of it,” Gabina says.

Like the fish at the opening shot, Otilia and Gabina are caught within the confines of a relentless society where this is little chance for outlet. The fish are trapped at the girls’ mercy, much like the girls are with Dr. Bebe, who can seal their fate. The abrupt ending provides the audience with no such hope for improvement. The girls are just two fish swimming in a harsh world at the mercy of apathetic people.

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[Recorded] Cristian Mungiu, 4 Months, 3 Weeks, and 2 Days