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Formal and Conceptual Border-Crossing in Crulic–drumul spre dincolo (Crulic–The Path to Beyond, 2011)

Antonio J. BONOME


Anca Damian’s film Crulic-drumul spre dincolo (Crulic-The Path to Beyond, 2011) may be a good example of form fitting content in the context of new Romanian cinema. The film makes use of a
marginal medium as collage to cinematically document a real-life story producing a truly haunting mindscape; namely that of 33-year-old Romanian Claudiu Crulic, unfairly imprisoned in Krakow under a theft accusation. Crulic’s passive resistance to transnational violence will emerge as a prolonged hunger strike with tragic consequences, and the film will show it by means of animation and collage. These are two art forms intimately associated with children that will gain a striking texture in the film through a skilled command of painting and other fine arts. This article aims to examine how traditional techniques are applied in the film to produce a compelling narrative involving the issue of migration in contemporary Europe. A comparative framework will be used to look at the film, with examples provided to clarify why Crulic deserves attention.

Keywords: Animation, Collage, Diary, Frontier, Immigration, Memory, Romanian, Passive resistance

DOI: 10.24193/ekphrasis.23.7