Studioul "Alexandru Sahia"

The film's protagonists are the orphaned children taken into custody by the state and institutionalized at Children's House no. 6 from Bucharest. For Mészáros, the concern for the situation of children left orphaned during the Second World War is autobiographical: the director directly experienced the absence of parents in her own childhood.

A more experimental aproach to labor protection films. In the line of Săucan's style, the soundtrack is as important as the image, the threatening music, full of shrillness, composed by Ion Dumitrescu potentiating the visual construction that mixes - in a montage reminiscent of the Soviet avant-garde school of the 1920s - all kinds of shooting techniques and frame combinations.

Report from the Red Flag is an odd presence against the gloomy background of Stalinist Romania. It belongs to a wider body of Sahia films about the living conditions afforded by the new blocks of flats built across Romania – in this case, a workers’ quarter built in ‘Stalin’-town (the name assigned, between 1950 and 1960, to the Transylvanian town of Brasov). While other films bear the imprint of the collectivist, work-centered ethos of the time, Red Flag follows the workers during their downtime, between Saturday 3pm (the end of the working week) and Sunday evening, while they spend quality time with their families, walking, mountain climbing, biking, fishing, or shopping – an opportunity, today, to see candid images of relaxation shot at a time when the state started paying attention to the leisure and tourism facilities available to its citizens.

A look at Romania's increasing mechanization in the seventies told from the perspective of a wanderer.

Made on the occasion of March 8, it presents a series of brief portraits of women, from various professional fields, of different ages and even of different ethnicities, pointing out the benefits that the communist organization had brought to their daily lives. A special emphasis is placed on their status as mothers and on the role of nurseries and socialist kindergartens not only in making their lives easier, but also in giving them the time they need to build a career. Another concern of the filmmaker, starting from the concrete case of one of the protagonists, is to highlight the differences between the happy present and the not-too-distant past in which someone with her social status should have dedicated herself exclusively to raising children, in hygienic and extremely difficult lives.

A documentary on the Fourth World Festival of Youth and Students that took place in the summer of 1953 in Bucharest.

Part of a series of promotional films commissioned by Romania's National Tourism Office in the early 1970s with the aim of reconnecting diasporic communities with the country they left behind. In this case, the film is addressed to Jews who emigrated in the context of the Second World War or were sold by the Romanian state to the State of Israel starting in the 50s and settled in Israel and the USA - therefore, a target group made up of seniors, probably retired , possibly prosperous, eager to revisit the places of youth and willing to forget, temporarily, the traumas associated with them.

Let’s work, but how? reproachfully asks one of the workers from the Station for the Mechanization of Agriculture (SMA) in Țăndărei, where filmmaker T. Barta was sent to document the lives of an agricultural brigade. Commissioned by the Ministry of Culture, the film was intended for screening in cinemas. Eight days had been allocated for the full shoot, without prior recce. On the first day, the filmmaker gathered the men round a fire—without having informed the local mayor, the Party Secretary or the head of the SMA, as was customary at the time—and recorded their thoughts about their work: sound only, no images. Once that was completed, the remaining days were dedicated to collecting images of the community.

One of the most ingenious documentaries of a period not at all devoid of fanciful and provocative attempts in the history of the "Alexandru Sahia" studio.

Director Eugenia Gutu offers a feminist critique of gender (in)equality under socialism in this documentary portrait of an industrializing town and its model citizen, Florica S.

Documentary about the fall of the old city of Orșova due to the construction of the Iron Gates hydroelectric power station.

At the beginning of the 70s, Sahia Studio produced a number of social investigations commissioned by the Central Committee of the Romanian Communist Party, intended to expose the so-called "social parasitism". The decision was taken after the theses of July 1971, which provide that "one of the main objectives of political work, especially among the youth, is the firm fight against the tendencies of parasitism, of an easy life, without work, the cultivation of responsibility and the duty to work , in the service of the country, the people, the socialist society". The most famous films, made with the competition of the Ministry of the Interior and the Ministry of Justice, are Să treacă vara and Iarna unor pierde vară

"This wonderful age in life where every thought strives toward an ideal, toward work, toward the future." Sahia Studios propaganda flick about how adults and their "those darn kids" attitudes affect adolescents.

Ada Pistiner’s investigation of the sources of substandard domestic items pushes its commissioned mandate to self-scrutiny, questioning both state-imposed industrial production and filmmaking processes.

" Advertisement film for video games made by CENTROCOOP. "

A cine-postcard directed at the Bucharest of 2080, For Our Heirs… is a charming time capsule whose innocuous humour and visuals will soon stand in sharp contrast to the harsh reality of the decade’s austerity measures.

"Fighting the Snow", which was subsequently also known as "Blizzard" represents a double feature, 6&7, of the "Actualitatea în Imagini" series. Directed by Mirel Ilieșu, it was filmed during the rough days of February 1954, when Romania faced a massive blizzard which targeted the capital city, eastern and south-eastern parts of the country, in three waves: 1-14, 17-19 and 22-24 of February. Part of the series made at "Alexandru Sahia" Studios. Awarded newsreel at Karlovy-Vary in 1954.

In 1959, in Romania, six former members of the nomenclature and the secret police organize a hold up of the National Bank. After their arrest, the state forces them to play themselves in a film which reconstitutes the crime and the investigation. At the end of their trial, filmed live, they are sentenced to death and executed. except the women, Monica Sevianu that due to the fact that she had 2 children she was punished to do hard work for life.

A public service announcement condemning the ominous obstacle of social parasitism and delinquency amongst wayward youth unwilling to contribute to Romania’s socialist advancement.

" The "Electromotor" Timișoara enterprise presents the industrial robot "REMT 1" which replaces stereotypical and tiresome activities through a rhythmic and harmonious execution. This robot is mostly used for assembly purposes. "