CANNES: If you’ve ever seen an Eastern European movie at a major film festival, there’s one thing you can count on, a corrupt police or judicial system at the center of it. That may seem like a generalization, but institutional corruption has been a centerpiece in Romanian film, especially over the past two decades. It’s no surprise then that Emanuel Parvu‘s “Three Kilometers to the End of the World” is driven by that narrative even when it’s not the most compelling part of the story.

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