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I made the mistake of starting “Bad Luck Banging or Loony Porn” on a large television in a home with teenagers, not realizing that the show begins with a few minutes of hardcore pornography before launching into the rest of the show. Because doing so could result in a scene similar to the one that occurred in my own home, with yours truly scrambling to find the remote control in order to lower the volume and then turn the television off completely, it is not recommended. “It’s a work of art!” I yelled to the rest of the house, whose inhabitants were fortunately concentrated on a different floor, and they all came running. “Art!”
In fact, it turns out that this is exactly the type of scene that could have appeared in Radu Jude’s witty feature film, which won the Golden Bear award at the Berlin International Film Festival in 2009. Its main character, Emi Cilibiu (Katia Pascariu), is a secondary schoolteacher who creates a pornographic video at home with her husband, only for it to be leaked onto the internet and gain widespread distribution (as such videos tend to do).
The exact circumstances are a little unclear—I believe the video was uploaded to a private server, and then some unknown third party downloaded it and posted it somewhere where the general public could see it—but they don’t matter for narrative purposes, because while the movie is concerned with whether Emi will lose her teaching job over the video (the entire film takes place in the lead-up to her inquisition), it’s all just a means to an end: exposing the contradictions and hypocrisies in Emi’
Jude approaches this task in the manner of filmmakers such as Robert Altman or Richard Linklater, who frequently created so-called “network narratives” (a term coined by the great film scholar David Bordwell) that avoided conventional storytelling techniques and instead took a more “hanging-out” approach, following a character or characters from one place to another, watching what happens during the journey or at the destination, then picking up those characters or others and following them to their next destination. Jude’s approach is reminiscent of
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Choosing storytelling devices that would transport the viewer to the next point of interest was a specialty of Altman’s, as evidenced by the use of a roving sound truck in “Nashville” and a fleet of helicopters spraying Los Angeles to kill medflies in “Short Cuts.” Emi herself serves as a stand-in for the equivalent in this case. As she travels around Bucharest on foot in her inquest outfit, visiting sympathetic but concerned family members, and eventually arriving at the hearing, which is conducted with appropriate social distancing due to the fact that the film was shot in real locations during the height of the COVID-19 pandemic, much of it is composed of these scenes. There are a number of encounters along the way that subtly underscore the arrogance, entitlement, and misogyny that men have in this society. Emi confronts a driver whose vehicle has been illegally parked on a sidewalk, and she avoids an older gentleman who approaches her and offers to give her a rose and engage in idle conversation.
Whether the latter approached her because he recognized her from the video or simply because that’s what clueless older men sometimes do is unclear, and this ambiguity is not as important as the overall vibe of the film, which inexplicably feels like real life in many ways. People who have seen and in some cases are actively watching pornography can be found all around us, and the porn is derived from currents within the culture that the filmmaker, er, reveals by having his main character go about her mundane daily business.
Bad Luck Banging Or Loony Porn Quiz
The majority of the people with whom Emi comes into contact are completely unaware of the impact that the video has had on her reputation and professional standing. People who are even aware of the situation are likely to regard her as a body placed onscreen for their voyeuristic pleasure rather than as a human being with an identity and the ability to exercise consent (which was ignored in this case). Is it possible that the film would have been just as effective if the video had not been shown? I’m at a loss for what to do.)
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The film is disjointed and meandering, but not in a debilitating way: it is purposefully aimless in its wanderings. A scene in which Emi is followed by the camera and then moves away from her so that the audience can see another bit of business involving other people (was this scripted, or was it simply an incident that occurred while filming in public?) is an example of this technique. A pedestrian who is seen berating an oncoming motorist who nearly ran him over at a crosswalk and demanding that the motorist proceed with the job is another example.
Many scenes feature the camera moving away from the ground entirely and prowling up the face of a storefront or apartment building, allowing us to see the architecture up close. There is a possibility that this is a comment on the anonymity of big-city life, or that the camera operator simply enjoys pointing out interesting architectural features.
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This is a film with an unconventional style that, if you’re not used to it, may be off-putting, especially if you’re overly concerned that every screen moment reinforces whatever rhetorical points you believe the film is trying to make. Instead of making statements, it appears that this is a film about making discoveries, with the camera following people and then abandoning them to seek insight elsewhere, by looking into things rather than simply looking at them.
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The film is currently playing in theaters.
For more personality quizzes check this: Julia Quiz.
