Andrzej Zulawski

Andrzej Zulawski – Boris Godounov AKA Boris Godunov (1989)

Andrzej Zulawski’s take on Mussorgsky’s opera. Conducted by Rostropovich.

Quote:
This is the best opera-inspired film I have ever seen. It’s not what we frequently see: a filming of a theater performance. This is a masterpiece of its own, with the force and drama of Mussorgsky’s music, but added with the insight of a professional film-maker. You will see wonderful scenes and color, with some artistic freedom to achieve cinematographic characters that really makes you understand the inner drama of a complex and appealing historic personage. Read More »

Andrzej Zulawski – L’Important c’est d’aimer AKA That Most Important Thing: Love (1975)

Quote:
Andrzej Zulawski’s L’important c’est d’aimer is a film of dishevelled lyricism, bursting with noise and anger; an insane storm-tainted flamboyant opera; a visual symphony with apocalyptic emphasis featuring sleaze-bags, clowns, drop-outs, wimps, bastards, and “puppet shows depicting lives of complete scoundrels and ruined careers.” Where some people will see nothing but a graphic canvas of pain, horror and a bloody parade of violence, others who analyze the darkness will see a call for compassion. This is the story of a fragile woman, Nadine Chevalier, who supports her failure-obsessed companion to the bitter end, and who meets a photographer weighed down by remorse. Read More »

Andrzej Zulawski – Possession [+Commentary] (1981)

Summary:
A young woman left her family for an unspecified reason. The husband determines to find out the truth and starts following his wife. At first, he suspects that a man is involved. But gradually, he finds out more and more strange behaviors and bizarre incidents that indicate something more than a possessed love affair. Read More »

Andrzej Zulawski – La note bleue AKA The Blue Note (1991)

Ultimately a story about destiny, “La Note Bleue” seems a personal reflection of Zulawski’s experiences, for both he and Chopin were Polish expatriates in France.

The film is highly theatrical and occasionally hilarious, but despite its ups and downs, the movie’s highlight is Chopin’s music, brilliantly performed by Polish pianist Janusz Olejniczak. Read More »

Andrzej Zulawski – La fidélité AKA Fidelity (2000)

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Synopsis
A talented young photographer, Claire is hired by a Canadian tabloid magnate, Mac Roi, to improve his company’s image. Claire knows that her mother once had an affair with this charismatic man and suspects that she may be his daughter. She meets Clève, an honest 30-something publisher whose company has just been bought up by Mac Roi. Claire is so taken by Clève’s unassuming charms that she agrees to marry him. But when she takes an interest in Némo, a photographer involved with illicit tracking, Clève starts to become very jealous…
Films de France.com Read More »

Andrzej Zulawski – Trzecia czesc nocy AKA The Third Part of The Night (1971)

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Quote:
A short excerpt from the Booklet essay by Daniel Bird

Trzecia część nocy (The Third Part of the Night, 1971) is a film by Andrzej Żuławski, the enfant terrible of Polish Cinema. It is also a film about the Polish experience, but one made by a filmmaker too young to remember the War. It was made in 1971, before the so-called Polish cinema of moral concern of Holland, Kieslowski and Zanussi. It is based (in part) on the life of Żuławski s father, Miroslaw, during the Second World War. It is perhaps the first (and probably the last) film about Weigl Institute in Lwow. But above all else, it is the debut film of one of cinema s true visionaries. Read More »

Andrzej Zulawski – L’Amour braque AKA Limpet Love (1985)

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Synopsis:
Inspired by Fyodor Dostoyevsky’s The Idiot and intended as “a homage to the great writer,” this film is set in modern France rather than 19th century Russia. This is a story of Léon (Francis Huster), who has been recently released from a mental asylum and claims to be a descendant of a Hungarian prince. On his way from Hungary to France, he meets Mickey (Tchéky Karyo), a hood who has committed a successful bank robbery and plans to take brutal revenge on the brothers Venin for what they did to his girlfriend Mary (Sophie Marceau). Léon can hardly understand what Mickey is up to but he follows him everywhere and soon falls in love with Mary. This odd love triangle resolves in a tragic ending. The frantic pace of the film’s action can be compared to that of a runaway, hell-bound train. The colors and sounds go out of control, and violence abounds — all of which is intended to convey to a viewer the craziness of the time.
— (allmovie) Read More »