1960’s Poland a nun called wanda (Agatha Kulesza) goes to see her aunt who tells her that she is jewish and so where her parents, that are now dead. So she goes in the search to see what they are buried only to find out family secrets.
Here is a jewel that is full of emotions with with a feeling of melancholy. Here the director goes back to his country where he was born to tell a story set in the 60’s and goes back to the essence of suffering from the Nazi massacre of the Second World War. A depressive scenery with a bit of surreal pictorial art. The frame, the scenery speak for itself plus it has a beauty to it. The director says that he doesn’t like to move the camera, he does not want to reveal to much with the image, to him he doesn’t like to give to much information after all like he said I am Anti-cinema. He was in a café when he saw this young woman studying and ask her if she wanted to be in the film because the has this innocence on her look. She didn’t want to be an actress. That is probably the only film you will see her in. The dialogue little there is of it was perfect. Here is Poland who tries to reconstruct the country from the war which he film was shot in the sublime black and white. Here is a nun with her aunt who are going on a road trip to find out what happen to their family and where they are buried. Here Pawel Pawlikowski is not a judge, but a brilliant artist, with a genuine vision of cinema.
During the Cold War, between Stalinist Poland and Bohemian Paris in the 1950s, a freedom-loving musician and a passionate young singer live an impossible love in an impossible time.
Pawel Pawlikowski’s Cold War begins with close-ups of folk musicians loudly playing for the camera and you are going what the hell is going on but wait it is part of the film. The film tells the tale of a tragic romance between a musician and a singer, spanning fifteen years in post-war Europe. Wictor (Tomasz Kot) in the middle Polish winter in 1949, as he and fellow music expert Irena (Agata Kulesza) travel around the frozen landscape of Poland in a truck, recording folk music wherever they find it. Thanks to Kaczmarek (Borys Szyc), a school is set up to bring young talent and create an ensemble to celebrate Polish musical culture and tradition. Competition is fierce but a blonde with stand out named Zula (Joanna Kulig). She is ambitious and caught the eye of wictor which soon after the romantic relationship is going to take place. The film is shot in black and white. And may the fractured romance across Europe begins.
Here is a woman Zula A singer on fire with a beautiful voice. Sassy, immature, she pretend to be a peasant woman to join a group of folk singers. She meets Wictor that she is going to fall in love hard for despite some her life’s choice that are going to be different from his. It is an offbeat romance where the two are going to struggle and it looks like they are addicted to each other despite that her choices are not the greatest one. Pawlikowski’s Cold War is dedicated to his parents, on whose love affair it is loosely based. And yes it is a masterpiece. Here the polish cinema is making its mark in this world. It is growing and expanding at the speed of light.
Stars: Rafal Fudalej, Kamilla Baar and Wojciech Pszoniak.
With the Polish-language drama Hope (2007), scribe and longtime Kieslowski collaborator Krzysztof Piesiewicz resurrects the tone, feel and themes of their classic Decalogue, by scripting a highly cerebral meditation on morality and ethos. Rafal Fundalej stars as Francis, a clever idealist who works in a church alongside his janitor dad. Late one night, Francis borrows his girlfriend Clare’s (Kamilla Baar) video camera, to catch a dangerous art thief, Benedict (Wojciech Pszoniak) lifting an ancient tile from the building. Before long, the young man reaps the vengeance of the burglar, who blows up Francis’s car as an obvious and vitriolic threat; the latter merely demands that the culprit replace the artifact and replace the vehicle. Meanwhile, a slightly oafish cop, Sopel (Zbigniew Zamachowski) learns of the goings-on and closes in on Benedict himself. Stanislaw Mucha directs.