Almost the entire movie is a film director (Bogdan Dumitrache of Sieranevada) having conversations, rehearsals and affairs with his lead actress (Diana Avramut). He fakes a stomach illness, claims he had it checked by a doctor, and his producer (Mihaela Sirbu of Aferim!) has his cover story carefully verified, either to catch him in the lie or, as she says, because of picky insurance demands. Another filmmaker (Alexandru Papadopol of Toni Erdmann) pops into a dinner chat, possibly representing a future job for the actress. This is practically all that happens, and it ends abruptly – so why is it a movie? I get the self-reflexive talk about long takes and film cartridge capacity in a 35mm movie composed entirely of long takes, and after all the film-vs-video talk, video gets finally represented in the form of a colonoscopy DVD. After two long scenes where the director tries to convince the actress that a newly written nude scene is dramatically necessary and she goes over the blocking with him to verify that this is properly motivated, our movie finally shows her gratuitously topless. All this is worth a few meta-chuckles – surely I got more out of it than 12:08 East of Bucharest, and if the whole thing feels slightly pointless and the conversations go on for too long, that’s probably intentional too, for reasons I don’t feel like researching at the moment.