7.6/10
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Dupa dealuri (2012)

Not Rated | | Drama | 26 October 2012 (Romania)
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The friendship between two young women who grew up in the same orphanage; one has found refuge at a convent in Romania and refuses to leave with her friend, who now lives in Germany.

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(screenplay), (inspired by non-fiction novels of)
6 wins & 16 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Valeriu Andriutã ...
Dana Tapalaga ...
Mother superior
Catalina Harabagiu ...
Gina Tandura ...
nun Iustina
Vica Agache ...
nun Elisabeta
Nora Covali ...
Nun Pahomia
Dionisie Vitcu ...
Mr. Valerica
Ionut Ghinea ...
Ionut
Liliana Mocanu ...
mother Elena
Doru Ana ...
Father Nusu
Costache Babii ...
Doctor Solovastru
...
Schoolteacher
Alina Berzunteanu ...
doctor Radu
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Storyline

Alina and Voichita have been friends since their orphanage days. And they have been lovers since they became sexually mature. But despite their oath of mutual fidelity, Alina, who could not bear poverty any more, emigrated to Germany where she became a barmaid. Now she just could not take the estrangement from Voichita and today she is back to Romania with a view to taking Voichita along with her to Germany. The only trouble is that in the meantime her girlfriend has betrayed her in falling in love with... God! Voichita indeed now lives in a convent where she plans to make vows. The priest agrees, if somewhat reluctantly, to accommodate Alina before their (hypothetical) departure. He sees all too well that not only is the young woman materialistic but hostile and troublesome as well... Written by Guy Bellinger

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »

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Details

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Release Date:

26 October 2012 (Romania)  »

Also Known As:

Au-delà des collines  »

Filming Locations:


Box Office

Opening Weekend:

$14,622 (USA) (10 March 2013)

Gross:

$109,248 (USA) (21 April 2013)
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Company Credits

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Runtime:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Romanian censorship certificate: - 15. See more »

Quotes

Priest: The man who leaves and the man who comes back are not the same.
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Connections

Featured in At the Movies: Cannes Film Festival 2012 (2012) See more »

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User Reviews

 
Beyond The Hills
11 July 2012 | by (China) – See all my reviews

A KVIFF viewing of Romanian auteur Cristian Mugiu's latest gripping modern exorcism tale which has garnered two wins in Cannes this year, a BEST SCREENPLAY award and the young pair Cosmina Stratan and Cristina Flutur shared Best Actress honor, which staunchly vindicates Cristian's consistent excellence not only in his fine-tempo and well-pitched directing bent, but a robust script and ultra-overpowering cast as a whole superlative pack.

Like his breakthrough chef-d'oeuvre 4 MONTHS, 3 WEEKS AND 2 DAYS (2009, a 9/10), the film anew grapples with the contentious subject-matters (this time it is about religious belief) and assigns two young girls in the main roles. The film acquaints its viewers with a secluded locale, an austere monastery (with no electricity and utilizing well water for example) is in stark contrast to the contemporary modernity, then slowly unwinds a tug-of-war in the name of love between God and human, a hapless destiny falls upon 2 girls from the same orphanage, one has become a pious nun so far, yet another is an obstinate non-believer, who chooses God as her love competitor and defies any compromise.

There is an unremitting impulse of captivation throughout the entire film which successfully banishes the awareness of its 150-minutes length. One of Mungiu's trump card is his virtuoso camera deployment, which has again fixated on a well-organized angle, especially in the indoor scenes, all the inconsequential items have been placed into incessant expositions of still paintings.

A strong-arm tension has been outstandingly established among three main characters (the said two girls plus the priest), although a few well-worn plot twists-and-turns may not survive the hindsight, however the eventual repercussion is nothing if not astonishing.

Much accolades should be granted to the film about its no shade of grey amplification of managing the thorny issue, the clear-minded of eschewing any grandiosity with a telling coda, which can never be less appreciated among cinephiles.


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