When it comes to geography and recalling European capitals, it’s a fair bet that most would be able to name Romania’s capital – Bucharest.

But a follow-up question, naming the second biggest city in Romania, would be far more vexing.

This film will help, being set there as it is, in the city Cluj, following the plight of a local worker.

Arriving at as disused basement in the city of Cluj is Orsolya (Eszter Tompa). She’s there in her capacity of a bailiff for the council, supported by a handful of policemen, as she’s there to move a homeless person on.

It should have been a standard task, but it spirals out of control and leaves Orsolya devastated by it.

So much so that she can’t accompany her family on their Greek holiday, instead choosing to stay behind in the city and process the event, with various individuals, in a way in finding a personal resolution in some way.

Romanian director Radu Jude’s film puts not only his protagonist in the spotlight, but the city too.

It plays out like a cinematic parable, as Orsolya spends a fair amount of time with a number of other characters, as she discusses the issue and hears their take on it. It’s almost like a confession, with a still, motionless character in front of the pair of them sitting down, with no editing involved as she just expresses herself in front of them.

With no cuts, with the camera representing us overhearing everything, as if a speechless surrogate of ourselves, soaking in the conversation and the various ways it goes.

And then, acting as bookends to these scenes, postcard-pretty stills of a myriad of locales around the city, highlighting what the city has to offer.

The result can make an audience feel like a tourist, absorbing all the still imagery that is being curated by Radu, as well observe Orsolya’s emotional, political and cultural journey.

It is deeply quiet, with the stillness on the perturbing side as the film goes on, but undoubtedly manages to put Cluj firmly on the cinematic map.