This chapter addresses the question of minimalism in New Romanian Cinema, as exemplified and epitomised by Cristi Puiu’s films, in relation to cases of remediation. It mainly follows Doru Pop’s definition of Puiu’s minimalism as a reduction of cinematic language to its basics, or as a ‘technical abstinence’, with the purpose of concentrating on the essentials, on ‘pure and simple realities’ (2014: 66). With regard to the concept of ‘remediation’, the chapter follows Jay David Bolter’s and Richard Grusin’s definition, which refers to the ‘representation of one medium in another’ (1999: 45). A close look at the minimalism of New Romanian Cinema films shows, surprisingly, that it allows a certain degree of stylisation, even of the kind that actually highlights the use of a medium. Therefore, it is intriguing to considerepisodes in which Cristi Puiu’s films introduce, sometimes just through subtleallusions, cases of remediation. Thus in an attempt to reconcile the apparent paradox of the use of remediation in minimalistic films, the chapter offers a close look at a few instances of remediation and its various functions.