At the beginning of the new film by Radu Muteanu, Intergalde, we see three nice young people, Maria, Dan and Ilinca, riding on muddy and difficult to pass mountain roads to distribute humanitarian aid to elderly locals in remote villages. Moving towards the village of Intregalde, they constantly talk about their own lives. All challenges begin when they encounter a senile old man, Kente, on the way, whom they accept to take by car to a nearby sawmill.

The film deals with the relationship between extremely poor villagers and solidly situated middle-class residents from the city. The question of the true sacrifice and humanity of the three characters in the film is best shown in the darkness of the forest, around a car stuck in the mud, in unfamiliar territory without GPS. Then we see the true character of our heroes, how good they are to those they want to help and how compassionate they are to each other.

There is a noticeable fluctuation of characters between boredom and fear, and then frustration about the situation they are in. It is the powerless and bewildered Kent that is the point of their disagreement, and their relations are reflected through this old man. Do you leave him in the woods or take him, do you go looking for him, how to treat him during a long and cold night in a stuck off-road vehicle? At times, the tension intensifies with elements of horror (when unfamiliar screams are heard, knocks from the outside in a closed car...), which raises in the viewer mind additional concerns and uncertainty for the fate of the heroes. What's going to happen to them? It shows the hypocrisy and selfishness of each of the three heroes. Their humanitarian trait from the beginning of the film disappears and we perceive it as a routine, socially acceptable trend to “help the poor.” Also, through their relationship with the elders in the village, we see an elementary misunderstanding of the problems these people are in. 

Intergalde is tense but full of comical situations and long discussions between the characters, which is inherent to the Romanian wave, where the characters and nature of individual actors are shown through seemingly innocuous topics. While in most Romanian films by authors such as Cristi Puiu, Corneliu Porumboiu and Cristian Mungiu, this realism among the talkative heroes takes place at celebrations, in apartments, in the corridors of buildings, but here the realism is relocated to the countryside and later into the night of a forest. The atmosphere was conjured up by the excellent cinematography of Tudor Vladimir Panduru who worked in the films of leading Romanian directors such as RMN and Graduation by Cristian Mungiu, and in several long scenes of Malmkrog by Cristi Puiu. Particularly noteworthy is the demanding night sequences in the heroes' dialogues in the car. The noticeable absence of music and the appearance of individual sounds amplifies overall realism.

Introducing the old, non-professional actor into the film is a nice refreshment that takes the film to a higher level. His spontaneity and relaxation, which is typical for remote areas where time practically stands still, is a contrast to the busy city heroes who want to get the job done as soon as possible. His very appearance is a critique that people like Kent are the burden of society left to themselves, for which no one has the time or the desire to devote themselves. Of the city's three heroes, the main character is Maria, who launches the search for Kente and spends the most time with him. She shows herself to be a true humanitarian and is the most devoted to him of all three characters. 

At the end of the film, attention is drawn to old man Kente, who is portrayed as a man without excessive demands and expectations, unlike the city's three heroes. That's why the film ends with Kente being metaphorically the embodiment of purity and humanity. Romanian director Radu Muntean, initially, turned the innocuous and routine ride into an exciting drama of various characters sliding toward tragedy. Until the very end, he manages to skillfully keep it at the very edge of the actors' self-control, to stay in their right mind in extreme situations.