Plot / Synopsis
Feliks Falk’s latest movie “Joanna” is a story set in the time of World War II. The main heroine’s husband had been sent to an Oflag. One day Joanna encounters a little Jewish girl in a church. Despite the risk, she decides to take care of her.
“Joanna” is an example of a true story as it reflects the behaviour of thousands of the Righteous Among the Nations.
Feliks movie has enchanted the audience of 35. Polish Film Festival in Gdynia.
Tadeusz Sobolewski, a film critic, gave the movie a very positive review.
Profesor Zazul is a short Polish film, made for TV in 1965, and based on a Stanislaw Lem story. Ijon Tichy is driving in the country when he is forced to take refuge in a creepy house. Inside is the laboratory of Professor Zazul, where he finds something disturbing. Continue reading
Set in 1936 in Poland. Zygfryd, a handsome, orphaned young circus acrobat with an introspective temperament, is under the protection of circus owner, Waldo, and his wife. A rich intellectual recluse, patron of the arts (and of young artists) stumbles into Zygfryd’s heart- stopping act and offers him his friendship. He also opens up his cultural horizons and teaches him to consciously reflect on life. It all ends in tragedy, when the boy finds that the circus life is no longer enough and falls during his act. Written by Polish Cinema Database Continue reading
Presents highlights of a workshop for young directors conducted by the Polish director Krzysztof Kiewslowski (1941-1996) in Amsterdam during the summer of 1994. The theme of the workshop was the direction of actors. For a fortnight, various groups worked every day on a scene from Ingmar Bergman’s scenario `Scenes from a Marriage’. The sessions with the directors Leif Magnusson and Francesco Ranieri Martinotti were filmed for the documentary, and an interview with Kieslowski was filmed before the sessions. The workshop was entitled `Six Actors in Seach of a Director’. The actors were Reinout Bussemaker, Pamela Knaack, Shaun Lawton, Matthias Maat, Dulcie Smart and Nelleke Zitman. Continue reading
A story of a middle-aged woman, Irena, living alone on the outskirts of Wroclaw with her 8-year old son. They live in a drab apartment. She is a mail carrier and her son is her only pride and joy. She hardly communicates with anybody else in a humanly open and natural way. She also cares for a sick relative. One day when delivering a monthly pension to a crippled young miner Jacek, she faints at his doorsteps. Even though she is determined to live alone after divorcing her drunken first husband, she also knows that her boy needs a male figure to correct his bad habits. She also needs a man badly. The love affair between Jacek and Irena begins however their first physical encounter shatters them both. Irena has a lot of problems: her son makes a lot of trouble at school, and at work her supervisor wants to take her route and give it to somebody else. Finally, the sick relative dies, and she is hit with the funeral bill instead with the expected inheritance. She steals pensioners’ money she should be delivering. Tells Jacek that she indeed has received inheritance, places her son in a boaring institution and buys a used car for a trip to West Berlin, opting to immigrate. Now the accident happens… Written by Polish Cinema Database link (link) Continue reading
Talented Polish director Agnieszka Holland who would be better known in later years because of her films like Europa, Europa (1991) or some of her American works like Washington Square (1997), hits the mark early and again with this ostensible story about provincial actors in Poland. In reality, the comedy-drama can be read as a commentary on the contemporary Polish scene in politics and society. The story begins as a savvy director arrives in a small town to put on a stage play. His leading man is filled with insecurities and goes beyond the confines of his lead role to expand his part, restore his cut lines, and generally outdo himself while taking on some of everyone else’s job, including the director’s. No one wants to lose him because of his drawing power, and the director is caught in a bind. At the same time, the lead actor’s wife is slowly losing her chances at success, being relegated to a much lesser position in the troupe. This fine comedy won the Fipresci award at the 1980 Cannes Film Festival.
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Thoroughly and rather inscrutably Polish, Angelus makes a fable of Poland’s 20th-century history. In it, caricatures of Hitler and Stalin mix with angels, saints, and a kooky band of sun-worshipping cultists who believe a ray from Saturn will destroy the planet. In a world director Majewski renders in stylized, eccentric tableaus, this eschatology seems fairly reasonable–even if it means a naked, virginal teen boy must be sacrificed to absorb the ray and save the Earth. (Is he a Christ figure? Well, Angelus is fairly well suffused with religious symbolism, so you do the math.) This guileless chosen one narrates the decades-spanning tale, which often suggests a gentler kind of Emir Kustericia-style absurdist nationalism (see Underground) shorn of sex and violence. What lies next for Poland after the horrors of WWII and repression of the communist era? How will the world end? Judged by the movie (if not its prophecies), more with a whimper than a bang.