Iulian Mihu

This is a comedic meta-movie about making a movie on the Romanian seaside. The movie made is about some low level black market traffickers.

The action of the movie take place in a factory and presents the conflicts between one engineer and some young workers.

Nicolae (George Motoi), the intelectual descendant of Moromete family, former communist apparatchik in the 50s, becomes a horticultor due to a political error, and refuses to have any social life, even if he is unhappy with his inactivity. The death of his partner makes him respond to the overtures of his old comrades. Based on the eponymous novel by Marin Preda.

Georgie, a young talented and respected doctor, leaves his job at a hospital in the capital and goes to work in a remote fishing village. Georgie has a hard time in the new place, where the fishermen prefer the witch doctor to the doctor. Boredom and unsettled life irritate his wife Irina, and she returns to the city. After some time, when Georgie managed to defeat the distrust of the fishermen, win their respect and love, he persuaded Irina to return. During a noisy and merry celebration, Irina carelessly climbed a precipitous bank and fell to her death.

Alexandra and The Inferno is a 1975 Romanian film, about a young soldier during World War 2, written and directed by Iulian Mihu. The main roles were played by actors Violeta Andrei, Romeo Partenie and Nicolae Radu. The screenplay is based on the novel of the same name written by Laurențiu Fulga. In a complex social context, the film explores the protagonist's dilemmas and inner struggles, shedding light on social and personal issues that test her courage and strength to resist.

Young Felix moves into his eccentric uncle’s house and is immediately drawn to the enigmatic Otilia, a free-spirited woman who lives by her own rules. Love, inheritance games, decaying mansions, and fragile hearts collide in this elegant adaptation of George Călinescu’s novel Enigma Otiliei.

Three sisters that had a tranquil life in a town suffer dramatic life changes at the end of WW2.

"The Apples" (1955) is the graduation film of two of the most important directors of the following decades, Iulian Mihu and Manole Marcus, and shows a young couple mocked by a nobleman because they had stolen some apples from his estate.

Constructed in the tone of a tragicomedy, the film, through the realistic situations it presents, excludes parody of any kind and leaves room for lyricism and humor. It also brings before the audience a story that will appear to us as something indifferent to the society in which it takes place, indifferent to the political and social, depending exclusively on the state of the individual himself. The double ecstasy has found a novel form of expression, the only undeniable fact. It was realized when Ion Iliescu was still "posing" as president of the country.

Matei recollects events of the year 1944 in order to prove the innocence of a friend. Based on "Șoseaua Nordului" (Northern Highway) novel by Eugen Barbu.

This film is about a functional alcoholic, who works as a lathe operator in a factory and is mentoring a young man.

Summer 1913, in a village near Buzăul. Ionica, the schoolteacher's son, witnesses the hard life of the poor villagers. The war is coming and his landless neighbors have to work 16 hours a day at the oil wells for miserable wages. Is there hope for them?

A local Romanian chieftain in 16th century Transylvania discovers a great treasure of Decebalus. He decides to send it for safekeeping in Moldavia, but he has to evade the Transylvanian prince and the king of Hungary, who get wind of it and want it for themselves.

Dying in the trenches during World War II, Stefan looks back at his own life and that of his father. Through his memories, the film presents a story that embraces two generations and various eras. It is a film about the tragedy of lives dragged into conflicts against their will, of lives violently ruined or ended – a story about the devastating consequences of war. Interweaving past and present, the flashback narrative depicts the war as a perpetual situation where the “little people” always turn out to be on the losing side.