‘Three Kilometers to the End of the World’ Review: Emanuel Pârvu Examines Homophobia in a Small Romanian Town | Cannes

Romanian cinema has carved a significant niche in international film topography through its strong ties with the Festival de Cannes. Renowned filmmakers such as Cristian Mungiu (whose film 4 Months, 3 Weeks and 2 Days won the Palme d’Or in 2007) have sharply depicted Romania’s social and political troubles. This year, Emanuel Pârvu’s surprising selection in the Competition continues a customary tradition.  

Three Kilometers to the End of the World is a poignant drama focusing on 17-year-old Adi, played by newcomer Ciprian Chiujdea, who is spending his summer in the remote Danube Delta. One night, his life takes a dramatic turn after being brutally attacked, resulting in a startling change in his parents and the community’s perception of him as an outed homosexual. This event ravages the village’s tranquility, revealing deep-seated preconceptions and the grim realities of homophobia. The frail Adi is terrified as he wrestles with his identity to seek acceptance while confronting the tensions between personal truth and societal expectations, love and acceptance, and the struggle for self-discovery in the face of adversity.

As Adi deals with the aftermath of this traumatic event, Pârvu illustrates his efforts to reconcile his truth with the rigid traditional norms surrounding him. Blinded by rage, the perpetrators of the attack reflect the prevalent intolerance in the village through their actions, which indicate an ominous prejudice against LGBTQ+ individuals. The film vividly depicts how these biases manifest violently, disrupting the lives of those who deviate from the pre established canvas as imposed by society. 

The police, rather than seeking justice, are corrupt and manipulative, further exacerbating Adi’s situation. The tight script masterfully crafts the policemen in charge with a duality that accentuates their mean-spiritedness through running jokes and witty dialogues. These darkly comedic elements provide moments of levity and highlight the officers’ maliciousness and their role in perpetuating injustice. Showing the systemic corruption and the failure of law enforcement to uphold justice in marginalized communities, adds another level of complexity to Adi’s fight.

The parent’s reaction to the incident is complex and multifaceted. Torn between their love for their son and their ingrained beliefs, they seek refuge in religion, hoping to find solace and answers in their faith. However, this reliance on religious doctrine reinforces their prejudices rather than challenges them, adding another layer of conflict to Adi’s combat for acceptance. Three Kilometers poignantly captures their internal conflict and the broader pressures influencing their responses.

Pârvu’s directorial choices further heighten the film’s themes; the use of stagnant shots and soft camera movements create a much-needed contrast that highlights the underlying tension and unease. Breaking the fourth wall and blocking characters outside the frame renders a sense of incapacity, emphasizing their different and contradictory positions as well as the oppression they face. These techniques underscore the political power dynamics of the characters that are often visually marginalized, reinforcing their lack of agency within the rigid structure of their village. As the film nears its conclusion, the arrival of a determined social services agent offers a glimpse of hope for Adi’s predicament. However, Emanuel Pârvu falls just short of fully engaging viewers in what should be the paramount perspective: Adi’s. While moments capturing Adi’s vocal frustration alongside his silent resilience are depicted with finesse—his desperate pleas for assistance juxtaposed with his piercing gaze into the mirror—there remains a notable absence of sustained immersion into Adi’s world. Nevertheless, and despite this apparent gap in its narrative, Three Kilometers to the End of the World stands as a special cinematic accomplishment.

Grade: B+

This review is from the 2024 Cannes Film Festival where Three Kilometers to the End of the World played In Competition.

• Author
• Recent Posts

Ali Benzekri

A devoted cinephile, Ali started his career as Communication and Ditribution Manager at Ali n' Productions (Ali Zaoua, Casablanca Beats, Blue Caftan). He followed that resourceful experience by taking on the job of Head of Archives at the Cinémathèque de Tanger. Since 2021, Ali has been running a specialized film program on Radio 2M, one of the leading radio channels in Morocco. He is currently in the process of launching the Filmothèque, a traveling cinema project aimed at showing independent and classic films in Morocco in creative fashion. He writes about films in English and French Lioumness, International Cinephile Society and TelQuel.

Latest posts by Ali Benzekri (see all)

• ‘Queer’ Review: Daniel Craig is Perfect and Drew Starkey is Revelatory in Luca Guadagnino’s Gay Chiaroscuro of Dreams and Desperation | Venice - September 4, 2024
• ‘The Room Next Door’ Review: Pedro Almodóvar’s Rumination on Death is an Actress Extravaganza for Tilda Swinton and Julianne Moore | Venice - September 2, 2024
• ‘Babygirl’ Review: Nicole Kidman is Feral and Fearless as a Woman Taking Charge of Her Sexual Freedom | Venice - August 30, 2024