Cristi Puiu Net Worth

Cristi Puiu Net Worth is

Cristi Puiu Bio/Wiki, Net Worth, Married 2018

Cristi Puiu (Romanian pronunciation: [?kristi ?puju]; born 3 April 1967) is a Romanian film director and screenwriter.Son of Iuliana and Emilian Puiu he lives in Bucharest and is married with Anca Puiu. He and Anca have 3 children - Smaranda, Ileana and Zoe.In year 2004 he founded with Anca Puiu and Alex Munteanu the Romanian cinema production company Mandragora.Puiu's first interest in art was painting and in 1992, he was admitted as a student at the Painting Department of Ecole Superieure d'Arts Visuels in Geneva. After the first year he switched to film studies at the same school and graduated in 1996. After returning to Romania, Cristi Puiu started directing and writing his first films, generally enjoying critical success.
IMDB Wikipedia

Date Of BirthApril 3, 1967
Place Of BirthBucharest, Romania
Height6' 2" (1.88 m)
ProfessionWriter, Director, Actor
SpouseAnca Puiu children
Star SignAries
1[on the examination of truth in Sieranevada (2016)] I think it's very serious what's happening. We need to rely on some kind of truth. And you look around and it's impossible to find. We keep saying this is truth, and we keep on forgetting and letting ourselves choose the comfortable way, and don't ask ourselves questions that put our own decisions in the discussion and not the decisions of others. We tend to believe 'this is what happened on 9/11/2001 in the United States' but know nothing about what's happening next door. This is a kind of illusion, a way of escaping real responsibilities. [2016]
2[explaining the emergence of the Romanian New Wave] I think it's obvious. What happened was I got this prize in Cannes [for The Death of Mr. Lazarescu (2005)], and then lots of directors saw that, and it pushed this style - Direct Cinema, Romanian Realism, Neo-Realism, Black Realism, whatever you want to call it. Because I made a movie in 2001 [Marfa si banii (2001)] and no one copied that. [2016]
3[on Aurora (2010)] I based the script on the principles of 'Direct Cinema' and documentaries, in which what is filmed is raw material. During the shoot we improvised quite a few things; the film was really constructed in the editing room. We had footage for a five hour film, two hours of which we threw out. The result is an organic structure. An author will select the details he thinks are significant according to his sensibility, his cultural background, or the things that shape his own perception and thought.[2010]
4Cinema is a laboratory. Cinema is science. Scientists work very much like filmmakers. Filmmakers use cinema as a tool, like a scientist's instrument. They ask questions about human existence, human nature, and the world. The camera is an anthropological instrument.[2011]
5[on Marfa si banii (2001)] Romania helped me to feel like a stranger. When I returned to Romania [from Switzerland] in 1996, I wasn't part of a group. So when I wanted to produce my film, they said it's worthless arguing that the Swiss never made films. Only when I won that prize they started to look at me differently. My first film didn't have any success in Romania, they even tried to ban the film because of the language. But with prizes came peace.
6John Cassavetes said that when you make a film, you have to start off telling yourself that you don't know anything. For Cassavetes, making films is an attempt to understand something, it's research.[2011]
7I tried to make a list once with my ten favorite films, but then I ended up with over 200. But under the first were: 1. The Mother and the Whore (1973) - Eustache, 2. Ali: Fear Eats the Soul (1974) - Fassbinder, 3. My Night at Maud's (1969) - Rohmer, Band of Outsiders (1964) - Godard, 5. Mouchette (1967) - Bresson.[2011]
8Metaphors are arrogant. They are not dangerously arrogant, but they are still arrogant. Real metaphors, metaphors that are told by someone who sees, are no metaphors. There is no point in fabricating metaphors. Signs are everywhere. Everything is there, you just have to open your eyes. The moment you fabricate, you are using the same mechanism of someone trying to demonstrate a truth. You think that only your mind exists, and that only your mind is capable of producing some unique vision. I think it is enough to witness. If your testimony is real, then your film will reveal enough truths that you yourself did not see.[2011]
9The only obligation an actor has, is to be.[2011]
10I wanted to tell Aurora (2010) in an elliptic way. Every cut is an ellipse. It was very important to show that this story was born in my head. I thus tried to eliminate transitions and links to show the fragmentary character of the process of thinking. I was very influenced by Rudolf Arnheim's "Film as Art" where he says that the filmmaker "can choose his motive".[2011]
11We are confronted with fictions everyday. I experienced the fall of communism in 1989. We assassinated Ceausescu on December 25. We could have assassinated him on the 24 or the 26. But we are too attached to fictions, so we had to assassinate him on Christmas. Or when we demonstrated for months in front of the university, the news on television told us that we were bought by western agents with jeans, drugs, and Coca-Cola. We live in a cosmic fiction and we can't get out.[2011]
12I try to use lenses that don't deform the image, but that are close to what we see in real life.[2011]
13I'm not a purist, but I try to eliminate all the remnants of literature, theater or music. I like films with music, like Hitchcock for example, Alfred Hitchcock wouldn't work without music. But I can't put music in my films. I did it in one scene in Aurora (2010) just for the ironic effect, I played a part of Dmitri Shostakovich's composition for Grigori Kozintsev's Hal Lear. It's complicated, why do I accept music in Hitchcock's films, but not in mine? It's the same with voice-over, I think voice-over is a literary not a cinematographic device, but there are films where I don't mind voice-over. There is nothing more admirable than Godard's voice-over in Band of Outsiders (1964).[2011]
14You have to do research and turn yourself into a visual anthropologist.[2011]
15My whole thinking is always how to make the most with modest means.[2006]
16[on Italian Neorealism and the Romanian New Wave] In any way, to run away from the past is very human, but so is the need to say the truth. To put the camera into society and make films like La Terra Trema (1948) or Paisan (1946) for example was necessary for the people who made these films. But it's not everybody's need. Most Italians didn't feel the urge to look at themselves and were against these films. They didn't want to see Bicycle Thieves (1948). It's the same here. I can't stand it anymore. People say we're destroying Romania's image. But what is that supposed to mean? When I was in Vienna with my first film, a Romanian came up to me and asked why I didn't film the mountains: "Our country is beautiful"! I don't make films for tourists.[2011]
17It is most important to confess, to tell the truth.[2006]
18I can't carry a camera around with myself all the time, but everything we see everyday has a human logic. It's wonderful! So just look around yourself and then try and reconstruct step by step what you saw. The result will be a proposition, a question. If a film does not turn into a question, it is wrong because it tries to manipulate.[2011]
19[on Aurora (2013)] I told the cameraman to observe and to stop thinking of composition. (...) The only cameramen that can observe are those doing documentaries. They are the ones that look at people.
20From time to time people disappear behind walls. You hear or you don't hear, you see or you don't see. Your condition as a human being imposes certain restrictions on what can be understood. We don't have two-way vision like a chicken does! There's that statement from Rudolf Arnheim in his "Film as Art" that a filmmaker is obliged to choose things from reality and if you choose one thing you don't choose something else. If you point the camera in this direction, you are going to lose what's happening behind the camera. This is the condition of the filmmaker. So I decided for every scene to have one shot from a very precise position-not in order to expose everything to camera, but to cover the space logically. If someone has to go from the armchair in the living room to the toilet, then maybe you can still get something from the sound of the flush. Cinema allows you to do this, to vary elements in order to build up the cinematographic sentence. I don't know if I've succeeded in this but the statement I want to make is that life is more important than cinema. I think that life is more important than cinema.[2010]
21[on Aurora (2010)] I suppose finally the political statement of the film is that in order to survive, to get along with others, you have to negotiate and make compromises. In the artistic domain, it's regarded as the worst thing. All the heroes we take as models are uncompromising and this is the fascist dimension of the thing. Viorel is like this. He's the one who's going to impose his philosophy on the world without negotiation. In order to live inside a community, you have to make compromises and concede things. And you have to somehow be confirmed by the institutions of the state, education first of all. It's an important question you ask and I realize that it could possibly be an answer to all the killings. An individual who is really stuck in his own philosophy, who isn't flexible or supple enough to make compromises, may end up killing somebody, killing himself, or leaving the community. So telling this story involves looking at some extreme answers to the question of how life in a community is possible.[2010]
22[on recurring characters in The Death of Mr. Lazarescu (2005) and Aurora (2010)] It's important to point out that she's one of the doctors in The Death of Mr. Lazarescu (2005) - it's the same Gina from that film. And Pusa's [Viorel's mother] next-door neighbor is the nurse from the ambulance in "Lazarescu". It's not just the same actress. And I wanted this nurse to have her own 'Mr. Lazarescu' at home - the old man who offers Viorel the drink. When I started my ongoing project, "Six Stories from the Bucharest Suburbs", I wanted to be inside a construction in the manner of Honoré de Balzac. Or like François Truffaut: Stolen Kisses (1968), Love on the Run (1979). And Viorel's upstairs neighbor, the woman, is another nurse from "Lazarescu". I wanted to mix these two films about death (one man receiving death, the other giving death).[2010]
23Cinema is an instrument for investigating the real, for investigating life. OK, so there's another question that arises, which is: why fiction films? It's because fictions come from our minds. And so they're like evidence - evidence of a certain way of thinking about the world. The camera isn't moving accidentally; there's an intention. So cinema can be a kind of anthropological device for you to look at the world outside yourself and the world inside yourself, inside your head, which fiction films allow you to do.[2010]
24Usually when you're delivering your story and you're honest with yourself, your message can't be clear. You must stay within a perimeter of facts and allow the audience to play the role of the detective.[2010]
25[on Aurora (2010)] Remember that I am a storyteller and one of the first lessons of cinema is that it is an art of ellipsis. In this film, I didn't hide things. I observed and then kept just moments that I thought were revelatory for the story I'm going to tell.[2010]
26[on his planned 'Six Stories From The Bucharest Suburbs'] Ultimately, I really want to get six films that evoke this period of time with a strong and important documentary dimension. I am searching now for Romanian films made in the Seventies and Eighties. I was born in 1967, so this period of time is very important to me. Romania has changed a lot. It is very hard to find images of old Bucharest in Romanian fiction. From time to time you can see a corner of the university square or the royal palace, old cars and tramways and things like this. And when I see them, I become very nostalgic. It moves me a lot when I see this-even if the film is stupid. (...) People, cars, buildings - they move me a lot. I would like to get important parts of Bucharest in my films. This film was Bucharest by night, but I want to shoot the next one during the day with exteriors and open space.[2006]
27People call me a film director now. And before I started doing this I was a painter. And I think it is stupid in both cases. It's hard for me to believe in this. I enjoy this activity, but it is very hard for me to start because I am questioning the roots, the basis of this activity. What is the point of making films or telling stories? There are too many stories already, and all these stories are the same. Well, maybe the point is to tell the same story differently. There is a character in Franz Kafka's "The Trial", a painter called Titorelli, who paints dozens of paintings of a tree in the middle of a field. So I agree with him: what is the point of making films? But you have to do something, and making films is a part of life as much as teaching people or being a policeman or a doctor. But if you are questioning the foundations of any human activity as Eugène Ionesco did, relating this to God as he did, then everything disappears. Everything loses its sense, so I agree with Ionesco. At the same time, he did write.[2006]
28I think that every human being has friends and enemies. I am like everyone else and this model applies to the movies I make: some people like them and some others don't. And this is okay. What is really great in filmmaking (and in art, in general) is that people you have never met, from another corner of the world and a different culture, can write about your film and really get it. They understand every detail of your film, your point of view, your philosophy, your pain. You read the review and your fear of death starts to diminish. I call those people potential friends. Being asked so many times for whom I am making films, I'll answer now (and to you, too, even if you didn't ask me this): I make films for myself, for my friends, and for my potential friends.[2006]
29My main influences come from Romanian literature and poetry, artists that have influenced me in general. One is Eugène Ionesco and his Theatre of the Absurd. The others are two poets whom I'd call "the poets of the silent despair," George Bacovia and Virgil Mazilescu. From universal literature and art I found some other models such as Franz Kafka, Fyodor Dostoevsky, and the Italian painter Giorgio Morandi. My conception of cinema is the result of the "lessons" I got from the authors above and the discovery of the works of John Cassavetes, Frederick Wiseman, Éric Rohmer, and Raymond Depardon.[2006]
30[on The Death of Mr. Lazarescu (2005)] I don't think I can give you the right answer, just a supposition which is related to a François Truffaut quote: "A film has to tell us something about life and something about cinema." So this is what I think: the film contains a vision of life - the story about a human being who dies alone, surrounded by the indifference of the others - and a vision of cinema. For me, cinema is less an art form than a technique for investigating reality. And this is not a Romanian tale, but a tale from Romania.[2006]
3110 years ago I suddenly decided to make films after I discovered John Cassavetes and 'Direct Cinema', and these kinds of documentaries, Frederick Wiseman and Raymond Depardon and so on. I would say my film is an expression of the way I understand their work. And the way I understand how to make films as well, because I am following in their footsteps. Step by step, I am interested in going further to discover things they couldn't discover in their own work.[2006]
1Speaks English, French and Romanian fluently.
2Member of the 'Best First Feature' jury at the 61st Locarno International Film Festival in 2008.
3Tribute at the 19th Sarajevo International Film Festival in 2013.
4President of the jury at the 3rd 'Pelicam International Film Festival about Environment and People' in Tulcea 2014.
5Member of the 'Official Competition' jury at the 12th Transilvania International Film Festival (May 31- June 9, Cluj-Napoca) in 2013.
6Puiu studied at the ESAV (École Supérieure d'Arts Visuels), Geneva, Switzerland from 1992-96. He first studied Painting and changed after one year to Film Studies. He created several short films of which "Before Breakfast"(1995) was selected in 1995 for the Locarno Film Festival. In 1996 he received a diploma from the ESAV for his short documentary "25.12. Bucharest, North Railway Station"(1996). The thesis he wrote there, which he says still guides him, was titled "Notes on a Poetic Realist Cinema".
7Teaches Film Direction at the 'National University of Theatre and Film "I.L. Caragiale"' (U.N.A.T.C. "I.L. Caragiale").
8Is an admirer of David Perlov's Diary (1983).
9Considers director Lucian Pintilie's Reconstruction (1968) the most important Romanian feature film.[2012].
10Lives in Bucharest, Romania.
11President of the jury at the GoEast Film Festival Wiesbaden in 2012.
12Member of the 'Un Certain Regard' jury at the 60th Cannes International Film Festival in 2007.
13President of the 'Official Competition' jury at the 16th Sarajevo International Film Festival in 2010.


Ponts de Sarajevo2014segment "Das Spektrum Europas"
Aurora2010/Iwritten by
The Death of Mr. Lazarescu2005
Un cartus de kent si un pachet de cafea2004Short
Niki Ardelean, colonel în rezerva2003writer
Marfa si banii2001


Ponts de Sarajevo2014segment "Das Spektrum Europas"
Trois exercices d'interprétation2013
The Death of Mr. Lazarescu2005
Un cartus de kent si un pachet de cafea2004Short
Marfa si banii2001






Transilvania culturala2016TV SeriesHimself
Ca-n Filme2012TV Mini-SeriesHimself
La nouvelle vague du cinéma roumain2008TV Movie documentaryHimself
Jobbing2006TV SeriesHimself

Won Awards

2016Gold HugoChicago International Film FestivalBest FeatureSieranevada (2016)
2016Silver HugoChicago International Film FestivalBest DirectorSieranevada (2016)
2016ICS Cannes AwardInternational Cinephile Society AwardsBest ScreenplaySieranevada (2016)
2012Gopos AwardGopo Awards, RomaniaBest DirectingAurora (2010)
2012Gopos AwardGopo Awards, RomaniaBest ScreenplayAurora (2010)
2012Gopos AwardGopo Awards, RomaniaBest Feature FilmAurora (2010)
2011Award of the Federal Foreign Office - Honorable MentionWiesbaden goEastAurora (2010)
2010East of West AwardKarlovy Vary International Film FestivalAurora (2010)
2006Special MentionIndieLisboa International Independent Film FestivalFeature FilmMoartea domnului Lãzãrescu (2005)
2006Prize TriesteTrieste Film FestivalMoartea domnului Lãzãrescu (2005)
2005Prize of the Ecumenical Jury - Special MentionBratislava International Film FestivalMoartea domnului Lãzãrescu (2005)
2005Special Jury PrizeBratislava International Film FestivalAward of the Student JuryMoartea domnului Lãzãrescu (2005)
2005Special MentionBratislava International Film FestivalSpecial Mention of the JuryMoartea domnului Lãzãrescu (2005)
2005Un Certain Regard AwardCannes Film FestivalMoartea domnului Lãzãrescu (2005)
2005Silver HugoChicago International Film FestivalSpecial Jury PrizeMoartea domnului Lãzãrescu (2005)
2005Jury Special PrizeCopenhagen International Film FestivalMoartea domnului Lãzãrescu (2005)
2005Propeller of MotovunMotovun Film FestivalMoartea domnului Lãzãrescu (2005)
2005Amnesty International AwardMotovun Film FestivalMoartea domnului Lãzãrescu (2005)
2005Golden BayardNamur International Festival of French-Speaking FilmBest Film (Meilleur Film Francophone)Moartea domnului Lãzãrescu (2005)
2005Special MentionNamur International Festival of French-Speaking FilmBest First FilmMoartea domnului Lãzãrescu (2005)
2005Norwegian Film Critics AwardNorwegian International Film FestivalMoartea domnului Lãzãrescu (2005)
2005Golden PuffinReykjavik International Film FestivalBest FilmMoartea domnului Lãzãrescu (2005)
2005Special Jury PrizeTallinn Black Nights Film FestivalMoartea domnului Lãzãrescu (2005)
2005Don Quixote Award - Special MentionTallinn Black Nights Film FestivalMoartea domnului Lãzãrescu (2005)
2005Best DirectionTransilvania International Film FestivalMoartea domnului Lãzãrescu (2005)
2005Best Romanian FilmTransilvania International Film FestivalMoartea domnului Lãzãrescu (2005)
2005Audience AwardTransilvania International Film FestivalMoartea domnului Lãzãrescu (2005)
2005FIPRESCI PrizeTransilvania International Film FestivalMoartea domnului Lãzãrescu (2005)
2004Golden Berlin BearBerlin International Film FestivalBest Short FilmUn cartus de kent si un pachet de cafea (2004)
2004Prix UIP Berlin (European Short Film)Berlin International Film FestivalUn cartus de kent si un pachet de cafea (2004)
2002Procirep AwardAngers European First Film FestivalMarfa si banii (2001)
2002Abasto AwardBuenos Aires International Festival of Independent CinemaMarfa si banii (2001)
2001Special PrizeCottbus Film Festival of Young East European CinemaFeature Film CompetitionMarfa si banii (2001)
2001"Findling" AwardCottbus Film Festival of Young East European CinemaMarfa si banii (2001)
2001FIPRESCI PrizeThessaloniki Film FestivalInternational CompetitionMarfa si banii (2001)

Nominated Awards

2016Palme d'OrCannes Film FestivalSieranevada (2016)
2016The Wilf Family Foundation AwardJerusalem Film FestivalBest International FilmSieranevada (2016)
2016ARRI/OSRAM AwardMunich Film FestivalBest International FilmSieranevada (2016)
2016Romanian Days AwardTransilvania International Film FestivalBest Feature FilmSieranevada (2016)
2012Gopos AwardGopo Awards, RomaniaBest Actor in a Leading RoleAurora (2010)
2010Un Certain Regard AwardCannes Film FestivalAurora (2010)
2006Independent Spirit AwardIndependent Spirit AwardsBest Foreign FilmMoartea domnului Lãzãrescu (2005)
2005Grand PrixBratislava International Film FestivalMoartea domnului Lãzãrescu (2005)
2005European Film AwardEuropean Film AwardsEuropean DirectorMoartea domnului Lãzãrescu (2005)
2005European Film AwardEuropean Film AwardsEuropean ScreenwriterMoartea domnului Lãzãrescu (2005)
2005Golden BayardNamur International Festival of French-Speaking FilmBest First FilmMoartea domnului Lãzãrescu (2005)
2004European Film AwardEuropean Film AwardsEuropean Short FilmUn cartus de kent si un pachet de cafea (2004)
2002Best FilmBuenos Aires International Festival of Independent CinemaMarfa si banii (2001)
2001Grand PrixBratislava International Film FestivalMarfa si banii (2001)
2001Golden AlexanderThessaloniki Film FestivalMarfa si banii (2001)

3rd Place Awards

2006ICP AwardIndiewire Critics' PollBest DirectorMoartea domnului Lãzãrescu (2005)

Known for movies

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