The strongest arc of the film is given to Paul’s wife, played by Mirela Oprisor (Mimi Branescu’s real life wife). For the first half of the film, she is portrayed as pretty boring and almost drab in the way she’s settled into life as a mom, however, once Paul tells her about his girlfriend, she proceeds to light up and dominate the screen for the rest of the film. Muntean maintains balance between the characters here so well. The big knock on her would be that she took any kind of sexiness or excitement out of their relationship, and Paul craved it. Once she hears this news though, she’s very empowered and damn sexy.
Everything in the movie is real. We had no control of anything. Since we could only follow some teams from DAS, we could build a relationship with the policemen and even the family that was going through that horrible situation. This relationship helped us because we were allowed to follow the whole process of the kidnapping, in the end, after the victim returned home; the whole team was so happy and glad that we had a happy ending to share with the public.
There'll soon be a casting call for young Brit and Aussie actors and actresses looking to board a psychological thriller/love story signed by an Oscar-winning scribe. Robert Jones' Jonescompany Productions will produce the Julian Fellowes adaptation of Paul Torday's The Girl on the Landing, and the pair are now on the look out for a director who can work in duel genres. Production would be set for Spring of next year.
The oldest member of 1960s France’s Nouvelle Vague, the late Eric Rohmer receives the retrospective treatment starting today, through September 3rd, at New York’s Walter Reade Theater at Lincoln Center with “The Sign of Rohmer.”