Film TransTransit Times: A country does not disappear with a bang

A new film titled Transit Times has captured the quiet, unglamorous reality of life in Moldova during 1997, a year marked by the collapse of the Soviet Union and the slow unraveling of a world once familiar. The film, which is rarely available in Germany, offers a rare glimpse into the daily struggles of a family, mother Zina, father Victor, and daughter Eva, as they navigate the uncertain terrain of post-Soviet Moldavia. It portrays their lives with a stark honesty that resonates beyond the borders of Eastern Europe. The story unfolds against the backdrop of a society in transition. Zina, who once worked in children’s theater, finds herself without a salary for months. Victor, a painter, continues his craft despite the lack of buyers, sinking into melancholy. Their daughter, Eva, a talented pianist, faces financial hardship even as she prepares for further studies. These personal stories mirror broader societal shifts: Russian is gradually replaced by Romanian, businesses close, criminal activity rises, and religious institutions regain influence. The film does not dramatize these changes, it simply shows them unfolding in the everyday lives of its characters. What makes Transit Times particularly striking is its refusal to sensationalize the period. Rather than focusing on grand political upheaval, it zeroes in on the mundane, the overlooked. This approach allows the audience to see how a country disappears not with a bang, but with a gradual erosion of routine. The film captures the emotional weight of this transformation, especially for those left behind. For many, the end of socialism meant not just the loss of a system, but of identity itself. Characters like Zina struggle to find purpose in a world that no longer recognizes them, while others attempt to escape through migration, forged documents, or small-scale entrepreneurship. The film's title, Transit Times, hints at the liminal space in which its characters exist. They are neither fully part of the old world nor entirely within the new. The concept of Înstrăinare, the Romanian subtitle, suggests a sense of alienation, not just from the state, but from one another. This theme echoes the experiences of many who remained in Eastern Europe after the fall of communism, often ignored in narratives focused on those who fled westward. The film serves as a poignant reminder that the 1990s were not merely a historical chapter but a formative era that continues to shape contemporary issues such as poverty, corruption, and distrust in institutions. For viewers familiar with the exodus of East Germans in the 1990s, Transit Times offers a counterpoint. While some sought refuge in the West, others stayed, grappling with the consequences of change. The film highlights the invisible struggles of those who did not leave, drawing attention to the human cost of political transitions. It challenges the notion that history ends with the collapse of a regime, suggesting instead that the effects linger long after the final curtain falls. As the film gains attention, it raises questions about the future of Moldavia and the broader region. With the looming success of far-right parties like the AfD in upcoming regional elections, the film’s themes of displacement and alienation take on renewed relevance. It invites reflection on how societies deal with the aftermath of upheaval, and whether the past can ever truly be left behind.