This film is an experiment. One dialogue, three filmmakers, three stories. Jerzy Skolimowski (Polish), Peter Solan (Slovak), and Zbynek Brynych (Czech) created their variations of the same conversation. Focusing on couples in their twenties, forties, and sixties, these three inventive sketches illustrate the emotional interaction between a man and a woman. Continue reading
A pair of American security operatives (Zach Cohen and Iftach Ofir) are on patrol in Afghanistan when they stumble upon a Taliban fighter (Vincent Gallo), who kills them despite his terror and nervousness. While trying to escape, the Afghan is captured by American forces; he’s tortured during interrogation, but doesn’t tell the Americans anything, in part because an explosion has made it difficult for him to hear what they’re saying. The Americans ship the Afghan off to a detention facility with a number of other Taliban soldiers, but upon arrival he’s able to escape. However, the Afghan finds himself in a forbidding snowbound climate, and with no provisions or warm clothing he struggles to simply survive as he avoids his pursuers and struggles to find some way to get home. Continue reading
Skolimowski’s knock-out second feature picks up with Andrzej Leszczyc, the protagonist of Identification Marks: None, as he is on the verge of his 30th birthday. Still very much the restless, rootless, alienated outsider — and once again played by director Skolimowski himself — Leszczyc is about to enter a boxing tournament he has little expectation of winning. The night before, he encounters Teresa (Aleksandra Zawieruszanka), a young woman he knew at university before he was expelled.
“Elliptic, allusive, rapid, humorous and exciting . . . Skolimowski makes cinema as you fight it and as you breathe it . . . Walkover is for the eastern European countries what Breathless was for French film — the resounding manifestation of a radical and irreversible renewal and the sudden promise of fresh air and fresh blood” (Jean-André Fieschi, Cahiers du Cinéma).
“Bristles with invention and Skolimowski’s own bitter romanticism” (David Thomson). Continue reading