By Tanner Tafelski
In the past three years Andrei Creţulescu has made three minimalist conceptual films, each one better than the last. And in his prior work, the name Ramona rings out at specific moments. “I can’t believe you fucked Ramona,” one thief says to another in Bad Penny (2013). While power relations play out among three thugs in a booth at a pub, off screen, the sounds of festivity are heard as—you guessed it—Ramona celebrates her birthday in Kowalski (2014). Ramona is like an in-joke among Creţulescu’s small body of work, inevitably manifesting as the title in his latest, most accomplished film yet.