Owen Gleiberman Chief Film CriticIn world cinema, austerity isn’t just a quality — it’s an aesthetic ideal that gets passed around from country to country.
The epicenter of high cinematic austerity was once the Sweden of Ingmar Bergman. Then it was the Czechoslovakia of the pre-Communist new wave, then the Germany of Fassbinder, then the Iran of Kiarostami, then the Romania of that new wave.“Two Lottery Tickets” is a Romanian film that could be called a caper comedy, but it’s been made with a bone-dry austerity — a meticulous and shrewdly observed shagginess — that viewers will recognize from far more serious pieces of Romanian cinema.
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