Nicolae Esinencu – liderul spiritual al filmului moldovenesc la sfârșit de mileniu
Nicolae Esinencu – the spiritual leader of Moldovan cinema at the end of the millennium

Summary/Abstract: The topicality and theoretical value of the paper is endorsed by the awareness of a phenomenon too little analyzed in filmology: the transfiguration of the latest stage of the Moldovan film through the genuistic and stylistic innovations of the writer and filmmaker Nicolae Esinencu, especially by not returning to the cinematic parable in various genres forbidden by the communist censorship. Following modern paradigms of psycho-biographies, the author captures the dialogue between the displayed terribleness of Nicolae Esinencu and the repulsions of a late romantic. However, the ideational-aesthetic genesis of Esinencu’s poetics turns out to be related to an explosive universe, focused, equally, on the mytho-folkloric emancipation of Ion Creangă, but also on the nihilism of the absurdist style of Eugen Ionescu. It is the clairvoyance of the artist’s sensibility that guides him to seek the existential answer in the ancestral paradigms of the nation. The three referred-to films that appeared on the cinematographic horizon in the last decades of the millennium, widen the area of cinematic knowledge through the spectrum of “wounded identity” (M. Pollak), detecting in the obscurity of insular abandonment some shipwrecked evidence, such as the duel between homo naturalis and fascist beasts (The wooden cannon), the old parents condemned to the sign of King Lear (The green soles), the impossibility of breathing in the homeland, the deoxygenation and spiritual disinheritance of the young generations (The Whirlwind).

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