Directed by Adina Dulcu

  • Romania;

  • NETWORK UNAVAILABLE previous work of director Adina Dulcu, available for screening on Festival Scope


After a childhood spent in the working-class neighborhood of a small industrial town on the shores of the Black Sea, Ana Petreanu is now captain of a major handball team and married to the financial manager of the factory that sponsors the club. But a serious injury clouds this perfect picture. Ana is confronted with the limitations of her own body and her most intimate fears. The team’s management hires a renowned physiotherapist, Frenchwoman Emilie, in order to bring Ana as quickly as possible back on the court. Only Emilie tries to make Ana aware that a return to the court could endanger both her career and her health. Marius, Ana’s husband, is displeased by the complicity the two women harbor and doesn’t take kindly to this stranger’s intrusion. Especially since Emilie is a lesbian… However, his apparent jealousy conceals something else. After a domestic argument, Marius reveals that the factory and the team will soon be liquidated, dismantled and sold piece by piece. This is why management pressures Ana to play to her full potential – they want to keep the appearances and cash in the most amount of money before it all turns into dust. Ana is mortified. All along, her battle with her own body had only been a prologue to her battle with an entire corrupt societal system. After a lifetime’s struggle out on the court, Ana readies herself for the ultimate match: the one that will tell her what price she needs to pay, in order to regain her own freedom.

Director's Statement

I question myself since a long time about personal identity, about taking act within a corrupt socio-political context and the consequences it engenders; a questioning that is both social and intimate. Ana’s story speaks about the emancipation of a woman in search for her own freedom, who runs into the ruthless wall of a patriarchal society marred by corruption and intolerance. It’s a story about how each “personal revolution” is essential, regardless of our nationality, culture or gender. The title enfolds all the audio-visual themes I want to explore: the industrial chemistry of the factory and its ultra-polluted environment, the chemistry of the bodies thrashing on the handball court, the organic chemistry installing between Ana and Emilie and condemned by everyone. It’s this multiplicity I would like to capture, between the atmosphere of a social drama and a more intimate and poetic film.



    Tudor Giurgiu, Bogdan Craciun