Most films produced during the communist period aimed to promote the ideal of the “new communist man.” A common theme was history, with these films giving the impression of faithfully depicting past events while idealizing the image of ancestors. However, in many cases, reality was manipulated to serve the promotion of communist ideology.
For example, in many of Sergiu Nicolaescu’s films, the Romans were portrayed as “invaders” attacking the Dacians. The purpose of this narrative was to instill a nationalist spirit in the public consciousness, rejecting both Western influences and those from the USSR.
Until the mid-1970s, the film industry experienced rapid growth, both in terms of film production and public interest. However, during the decline of the 1980s, support for the local film industry diminished.
Amid strict censorship, the 1980s saw a boom in video cassette smuggling, particularly of Western films. Behind this operation was a network supported and protected by the Securitate, ensuring the illegal import, copying, and dubbing of these tapes. Their popularity fueled a unique social phenomenon: the organization of “movie nights” at the homes of friends or neighbors who owned the necessary equipment—commonly referred to as “the video”—in exchange for money or goods.
This system highlights the extreme level of corruption during the communist period, where state institutions were involved in illicit activities for financial gain, prioritizing the interests of a small group over the regime’s official ideology.
The photos were taken at the Museum of Communism in Bucharest, located at Str. Covaci 6 in the Old Town. The museum welcomes visitors every day (closed on Wednesdays) from 10:00 AM to 7:00 PM. Tickets: https://undevaincomunism.com/buy-tickets/
