It was here that Ion Șahighian filmed "O noapte de pomină" ("An Unforgettable Night"), from a script by Tudor Mușatescu, starring George Timică and Dina Cocea, in 1939. The film found great success with audiences and received a favorable critical reception. Thus it was shown what good technical equipment could do for the industry. Through various governments' decisions, the National Cinema Fund was placed within the Tourism Office, where a cinema section had been established for creating travelogues. The material base created was that initially stated as the project's goal and indeed of good quality. The film cameras were of the newsreel type, with portable sound equipment set up in an automobile; work was soon finished on a sound recording room for documentaries, with minimal artificial lights in the studio. This all disappointed the creators of artistic films, as they lacked suitable sets for filming. Also in this period at the end of the 1930s, "Oficiul Național Cinematografic" (ONC, the National Cinematographic Office) was formed, headed by the film critic D. I. Suchianu. In the beginning the office worked on a periodic newsreel program and on documentary production. Construction was also begun on a studio and completed with difficulty due to the start of World War II. The ONC produced the documentary "Țara Moților (Moților Land)", which received a prize at the 1938 Venice Film Festival. The film was directed by Paul Călinescu and marked the entry of the Romanian documentary into the realm of cinematic art. During the war, the ONC was placed at the disposal of the Army General Staff, the majority of cameramen being sent to the front, and technicians being employed exclusively for the needs of wartime propaganda. Despite all these difficulties, the film "O noapte furtunoasă" ("A Stormy Night") was completed between 1941 and 1942 in the ONC "studio". Producing the film under wartime conditions was a labor fit for Sisyphus, equally for the actors, cameraman, stage electricians, script-girl, stage designers and prop handlers. All the exteriors had to be constructed in the small 18×11 m studio, intended for music recording, since exterior shooting at night was impossible due to the need to maintain camouflage. For panoramic or travelling shots, two or three scenes had to be shot on a stage that had to be decorated two or three times over, and then combined in order to constitute a whole shot.