Studioul "Alexandru Sahia"

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.

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.

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.

"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.

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.

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.

" 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. "

An illustration of the evolution of the working conditions in the communist era, compared to the interwar period, using as a pretext a recently modernized factory in Jilava, presented in a mirror with the one described in a 1934 report by Geo Bogza.

Like Márta Mészáros, Florica Holban experienced losing her parents and institutionalization first-hand as a young child, which later triggered her long-term interest in the lives of the children growing up in state care. Holban’s Who Is to Blame? has something else in common with Mészáros’s Let All the Children Smile: they both include sequences filmed at the same orphanage in Bucharest (Orphanage No. 6)—Mészáros in the mid-50s, Holban a decade later. The two films also share a certain discretion regarding the role of the State, which assumed parental responsibility for children abandoned or separated from their parents. Here, both directors allow, albeit only briefly, the lonely and deprived children to appear as individuals with their own histories and traumas. Unlike Mészáros, however, Holban approaches her topic through a judicial lens: numerous sequences from her film were shot at the Tribunal, and the film credits a prosecutor as a consultant.

You must have passed through here at least once, says the voiceover commentary during the opening shots of this film. We learn that express trains pass through Meri without stopping and goods trains slow down, but don’t stop. Only the 7:01 commuter train stops, for just a minute, long enough for the teaching staff to alight. Dedicated to all those who live and work in isolated corners of the country, the film conjures up a small, remote world, virtually unknown to wider audiences.

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.

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

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

Bearing the signature melancholy, affection, and absurdist irony of associative form that would define his filmography, Copel Moscu’s debut is a loving portrait of miners and their arduous, sun-deprived existence.

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

“Cinema, Poetry, and Trains in Tîrgu Neamț” might serve as the subtitle for this film, which Copel Moscu composes in a deliberately atomised manner, capturing the rhythm of a small provincial town in late-1980s Romania: cinema as escapism, pouring rain à la George Bacovia, and a vague love story between a woman projectionist and a railwayman come one after the other over the course of this somewhat comical elegy, whose meanings do not achieve the poignant depths of Moscu’s other films.

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.

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

A bizarre mixture of unmasked propaganda for the apparent success of the collectivization process in Moldova with a fresh approach, sometimes extremely exciting, from a formal and narrative point of view.

" Advertisement film for video games made by CENTROCOOP. "