Hash Import 2026 05 18 12 34

THE SOFA (2017)

★★★ — THE SOFA (2017)

Iulia Puica's short comedy comes out of Moldova, one of Europe's smaller and less internationally visible film industries, which makes it a relatively rare find for anyone working through a world cinema project. Running at 25 minutes, it sits comfortably in short film territory, and Puica keeps the premise refreshingly compact: two elderly men, a wedding invitation, and a sofa that becomes more trouble than it's worth. Little appears to be documented about Puica's wider filmography, so this functions as something of a calling card piece, the kind of modest, character-driven short that festivals in the region tend to champion as a way of nurturing emerging local voices.

A-Z World Movie Tour Moldova https://vimeo.com/435931226?share=copy From the description alone I thought this was going to be a good short. I wasn't disappointed. It was funny, whimsical, at times touching and just downright entertaining. It could have even been a little shorter as it was bloated by some random driving shots but overall it was a really good short. There's a little ambiguity at the end as to whether or not the adventure even happened at all but I choose to believe it did.

Rating: ★★★ | Year: 2017 | Watched: 2025-07-20

View on Letterboxd →

Related on Movies With Macca

Invasion of the Body Snatchers (1956)

Don Siegel’s Invasion of the Body Snatchers (1956) arrived at a strange crossroads in American cinema: too modest to be a prestige picture, too unsettling to be a forgettable B-movie. Adapted from Jack Finney’s serialised novel The Body Snatchers and shot at Allied Artists on a budget barely

Fantastic Planet (1973)

René Laloux’s Fantastic Planet (1973) is one of those films that doesn’t really fit anywhere: too cerebral for kids, too odd for animation festivals, too steeped in European political theory for the Saturday-morning slot, and too visually fearless to ignore. A 72-minute French–Czech co-production designed by the

Viy (1967)

Viy (1967) is a strange and almost solitary object in Soviet cinema: a horror film, an actual horror film with monsters and demons and supernatural set-pieces, in a national cinema that mostly didn’t make horror at all. Officially endorsed by Mosfilm and based on a Nikolai Gogol folktale, it

Alice in Wonderland (1951)

Disney’s Alice in Wonderland (1951) is the studio’s middle-period work par excellence: technically polished, commercially tested, narratively cautious, and just slightly off. Made between two of Disney’s commercial successes (Cinderella in 1950, which had rescued the studio from one of its periodic financial near-misses, and Peter Pan

Read more

Invasion of the Body Snatchers (1956)

Fantastic Planet (1973)

Viy (1967)

Alice in Wonderland (1951)