The story of ageing Romanian Constantin Reliu is complex, fascinating and, indeed, cautionary. A man with no documents, personal or pension rights, he worked in Turkey for 25 years and after being deported returns to his homeland only to find that he was presumed dead and has to face up to a system that refuses to formally recognise that he is actually alive.
Documentary filmmaker Ilinca Călugăreanu decides to follow his story – after all, it is rather reminiscent of the darkly absurdist nature of some Romanian New Wave films – but the director’s good intentions propel her towards an unsettling experiences, with the film proving “cautionary” both for her and her film’s subject. And the more convoluted matters become, the more Călugăreanu is drawn into the narrative.
The film opens in a traditional fashion, structured to show footage of Reliu trying to get a copy of his death certificate from the authorities, before switching back two weeks to an interview by Călugăreanu. “I don’t want to lie to you,” he says, adding he was born in 1955 on Valentine‘s Day.“Officially I am deceased. I have no ID card. Actually I have ID, but it’s expired…How can I be dead if I’m alive…no-one listens to me.”
What follows is plaintive footage of him sitting in a park and then trying to get treatment at a hospital. In an odd moment style-wise, Călugăreanu films her sound assistant Jonny Stanners watching a local Romanian television news story about Reliu…but as the film continues, Stanners features more in the narrative.
According to Reliu he was declared dead by his wife, daughter and brothers, and he often calls Călugăreanu late at night to complain about his situation. The director manages to convince him that they should visit his elderly mother. “We thought he was dead,” says mum, sitting away from him and reluctant to show affection. “Why he never answered? He didn’t write or give us a sign he was alive.” Reliu has no answer why he didn’t contact anyone, and can’t – or, indeed, won’t – explain why he left his wife, daughter and family.
Independently Călugăreanu goes back to see his mother and is introduced to Reliu’s brothers. In a re-enacted phone conversation, one says of Reliu that “lying comes easily to him” adding that they offered him financial support and advised him what to do in court, but that he had created his own narrative. “There’s a whole story there,” says sound man Jonny.
Reliu talks to lawyer Christian Calinita who says he will take the case to court, but he is never overly satisfied with Reliu’s answers as he becomes increasingly obsessed with getting damages from the case. In a dark spin he says if his wife comes to the court hearing he will kill her, and shows Călugăreanu a knife he has sharpened. Luckily she doesn’t attend, but after the hearing an angry Reliu says he will do no more interviews. Călugăreanu seems at a loss as to what to do.
Nevertheless she and Jonny go and interview a couple who appear to be Reliu’s only remaining friends, but a few minutes into the filming there is a crash and the screen goes black. A caption on the screen appears. “Reliu came into the yard brandishing a crowbar. He hit the camera and tried to hit Ilinca. No footage of the attack was captured.” He follows up with text messages saying “I risked everything for you. .I’m glad I only told you 20% of the truth” and “I’m driven by revenge.” Footage follows of Jonny and Călugăreanu sneaking speedily out of their hotel and driving away.
Two months later there is a news report on TV that he won his case to get death certificate annulled, followed by Facebook messages from him of roses and other flowers and wishing them a beautiful day. He never apologises, but in a voicemail says that “the devil took over” him.
To further exemplify the complex nature of both the filmmaker and her subject, A Cautionary Tale closes with footage of Reliu watching the film…
UK-Romania, 2023, 79mins
Dir/scr: Ilinca Călugăreanu
Production: Tangaj Production, Vernon Films
Producers: Anamaria Antoci, Mara Adina
Editor: Ilinca Călugăreanu
Music: Ruben de Gheselle
