There have been great and fascinating films made on the process of filmmaking; Sequences, directed by Alexandru Tatos (Gently Was Anastasia Passing, Forest Fruit) surpasses even Truffaut's Day for Night and Godard's Passion in its treatment of that billowing border between illusion and reality as a film crew at work passes almost unnoticeably from one to the other. Three separate episodes (based on three short stories) emerge from the experiences of the film crew. “The Telephone,” in which the loneliness of the protagonist begins to parallel uncomfortably the emotions of the director himself, poses the ancient chicken-and-egg question of the arts--is art imitating life, or is in fact the opposite true?--in a highly original way. In “The Prospecting,” an insignificant family drama involving a restaurant manager reveals tensions that extend far beyond the movie set. The third, most remarkable episode, “Four Slaps,” is a Pirandellian excursion into man's relationship to history as two aged extras on the set of a film dealing with the underground Fascist movement find that they were on opposite sides of the actual struggle. “This is a harsh parable with no heroes,” critic Manuela Cernat writes, “just victims.”