Miruna Minculescu

BRIGHT GREY

Caught in a tangled situation with present and former lovers, Călina tries to find purpose as both a mother and a human being on a charity trip to the frontier of a war that doesn't belong to her, but that frightens her less than her own.

SYNOPSIS

Thirty-two-year-old Călina has been in a relationship with thirty-five-year-old Tudor for several years, and together they have a two-year-old daughter, Sara. The two live in Bucharest, but in the last two months Sara has been staying with Tudor in Curtea de Argeș, their hometown, where he has influence and various businesses. Călina has just ended a brief secret relationship with twenty-eight-year-old Bogdan in Bucharest. The war in Ukraine has recently started. During a visit to Argeș, Călina discovers that Tudor has decided to move there, forcing her to choose to follow him. Călina refuses this life and returns with Sara to Bucharest to receive refugees at the bar she plans to open in a space owned by Tudor. Bogdan, helping with the bar's renovation, offers to assist with the refugees. Călina also seeks help from thirty-two-year-old recently divorced Andrei, a former boyfriend, to transport aid to the border in his van. Tudor unexpectedly arrives in Bucharest, proposing to transfer the bar to Călina's name as a peace gesture. Călina tries to understand what he wants in return. Dissatisfied with Călina's reaction and the presence of the other two men, Tudor leaves for Argeș with Sara. As the refugees no longer come to the bar, Călina decides to go with Andrei to the border in her car, to bring back a Ukrainian family to Bucharest. Bogdan wants to accompany them. Călina sees no reason to refuse. During the journey, Călina has a phone dispute with Tudor, who tells her that regardless of where she decides to live, Sara will stay with him in Argeș. Emotional support from Andrei brings them closer. At the border, the aid operation turns into a fiasco as they leave the packages with the wrong organisation, and the refugee family they were supposed to bring to Bucharest has already left. They find only one refugee, an Indian, who might need their help, but he disappears as well. Bogdan doesn't understand his position in the entire situation and presses Călina for explanations, wanting to reconcile. Călina opposes his attempts and gets closer to Andrei. When Andrei shows signs of seeking reconciliation, Călina reproaches him for episodes of physical violence during their relationship. In response, Andrei forces her to confront some truths, leading to a physical altercation. Andrei leaves, and Călina returns to the border, realising that Bogdan has also left. Alone in the dark, she realises that Tudor is the one she has to run away from and finally makes a decision. Călina calls him and accuses him of rape, but tells him that she will continue to keep the secret for Sara's sake, provided that Tudor does his best to be a perfect father. Călina agrees to leave Sara with him for a while until her life stabilises, on the condition that Tudor does everything possible to be a perfect father. Alone, Călina sets off back to Bucharest.

DIRECTOR
Miruna Minculescu

PRODUCER
Oana Iancu

PRODUCTION COMPANY
The East Company Productions

CO-PRODUCTION COMPANY
Contrast Films

COUNTRIES
Romania, Bulgaria

Miruna Minculescu

Miruna Minculescu is a Romanian film director. She graduated from the National University of Theatre and Film ”I.L. Caragiale” in 2019 and received her MA in film directing in 2021. Photography was her point of entry into the world of visual arts but her interest and curiosity turned to film, in which she explores a feminine universe in crisis. During college, she directed short films that were selected for and won awards at festivals including the Oslo, Thessaloniki, and Transilvania International Film Festivals, Anonimul, and Cinemaiubit. FRAGMENTS, her most recent short film, was shortlisted for the BAFTA Student Awards and brought Minculescu a nomination for a Romanian National GOPO Award. She is currently developing her debut feature, INFINITE POSSIBILITIES IN VARIABLE PROPORTIONS, a project with which she was selected for the Talents Sarajevo Script Station, the Transilvania Talent Lab, and Film+.

In March 2022, in the border area with Ukraine, everything seemed to be urgent and, although many people were trying to help, no one understood what needed to be done. In the chaos of this emergency, five days after the war started, I left for Siret with supplies and the mission of bringing a refugee family to Bucharest. I ended up returning with an empty car and with no assurance that the packages I had delivered would reach the refugees they were intended for. The feeling of uselessness and shame towards my own initiative made me pause a chase I had been on for a few years and made me wonder who I was actually running from. I was born and raised in a small town, interconnected like a network in which individual choices must represent the whole, and any exception is seen as an anomaly. The birth of my daughter turned my whole universe upside down, and I spent the first years of her life trying, with little success, to integrate the role of mother into my life.

DIRECTOR’S STATEMENT

Oana Iancu

Oana Iancu is a film producer with nearly two decades of experience in the film industry. She works with local directors and also produces commercial English-language films. Her most recent project, currently in post-production, is FISHERWOMAN, directed by Brian Kirk (GAME OF THRONES; DEXTER; LUTHER) and starring Emma Thompson. Iancu has produced films that have premiered at the Festival de Cannes, the Berlin International Film Festival and the Venice Film Festival. Among them are Radu Muntean’s ONE FLOOR BELOW (2015), which was selected for Un Certain Regard at Cannes; Călin Peter Netzer’s ANA, MON AMOUR (2017), which won the Silver Bear at the Berlinale; and Bogdan George Apetri’s MIRACLE (2021), which played in the Orizzonti section at Venice. She co-produced Sergei Loznitsa’s DONBASS (2018), the winner of the Un Certain Regard directing award at Cannes, and was the Romanian executive producer of Jasmila Zbanić’s QUO VADIS, AIDA? (2020), which was nominated for an Academy Award and was named Best Film at the European Film Awards. Iancu is a graduate of the EAVE, ACE, and Inside Pictures training programmes, and is a member of the European Film Academy.

PRODUCER’S STATEMENT

"INFINITE POSSIBILITIES IN VARIABLE PROPORTIONS" will be Miruna Minculescu's feature film debut. The story unfolds in a moment of extreme vulnerability in a woman's life. Out of a need to gain or regain her identity, she moves away from her family for a short period of time, and thus the inertia in our character's life disappears. Once there is no longer this constant force to propel her from one day to the next, she increasingly questions the conditioning, expectations, and choices that seem to be in opposition to some of her needs. The process is painful, all the choices have bright as well as extremely dark sides, and the making of some decisions is stymied by intense emotions, the pressure of responsibilities, and the complexity and unpredictability of consequences. I find this kind of story, which tries not to label or judge, but to explore the inner life of a character with whom many people can identify.

Production company profile

THIS The East Company Productions is a Bucharest-based film production company founded in 2016 by Oana Iancu and co-owned by Bogdan George Apetri. Its first major production, Bogdan George Apetri’s MIRACLE (2021), had its premiere at the Venice Film Festival in the Orizzonti section and received the Grand Prize at the Warsaw International Film Festival. The company co-produced Radu Muntean’s ÎNTREGALDE (2021), which premiered in the Directors’ Fortnight at the Festival de Cannes, and Emanuel Pârvu’s MIKADO (2021), which premiered in the San Sebastián International Film Festival.

snezana@thisandthat.rs

Where are we at?

TOTAL ESTIMATED BUDGET
787.000 €

FINANCES PENDING
310.000 €

FINANCING IN PLACE
468.000 €

Production timeline

16TH FEBRUARY 2026
Principal

Previous
Previous

ASSUMPTION

Next
Next

LOVE-45