Tomasz Wasilewski’s United States of Love may take place just after 1989’s felling of the Berlin Wall but little of the era’s euphoric optimism transfers to the Polish writer-director’s dispassionate yet engrossing third feature. Broken down into loosely formed chapters whose pages overlap and intersect with purposeful randomness, Wasilewski’s film sees his nation on the point of transition from its barren communist past to a new era of potential enlightenment: clothes, electronic goods and Whitney Houston posters no less. However, it is the day to day lives and struggles of four women who are our focus. Continue reading
ANDRZEJ ZULAWSKI’S adaptation of Manuela Gretkowska’s provocative and hugely successful novel reaches new extremes in the depiction of brutality, sex, and passion as it tells the story of a young(ish) anthropologist driven by the mystery surrounding the death of a recently discovered shaman; and his growing obsession with an enigmatic yet violently perverse beauty known as “The Italian”.SZAMANKA (She-Shaman) is a film ‘without brakes’. Above all else, it is a ‘demonic’ film where characters are battlegrounds in the war between demons and angels, where angels are agents of God and demons are those of the Devil. This pulpy, sexually charged tale with its deranged erotic futurism underlines Zulawski’s commitment to stretch the limits of aesthetic expression by exploring themes beyond the pale in conventional cinema. Violence, exuberance and sexuality are its key ingredients. Through hysteria, possession and hallucination we see what the Polish writer Stanislaw Przybyszewski called ‘naked soul’. Continue reading
Warsaw, night, a club by the river. Ojka – young and beautiful prostitute runs out to the parking lot. Wolski-fat, aging politician follows her, lured by her charm. None of the realizes that Ojka is only a bait, and Wolski is going to die in a few minutes…This is a begging of the movie with the study of strange relationship between various elements. The movie is a good description of a new, yet complicated Polish reality. Many interesting characters that appear on screen make the film vivid and real. It is also universal-as an intense, electrifying love story. Also, as a description of journey that begins in total darkness and ends in somewhere brighter light of hope. Continue reading
A story about love and the life of the youth of the sixties. A film saturated with insightful psychological observations and the warm, affectionate relationship of the central character. Continue reading
One dark night, at water’s edge, a family of musicians encounter aquatic sirens Silver and Golden. After assuring the family that they won’t eat them up, the winsome sirens are recruited to join the Figs and Dates band at a neon-lit Warsaw dance club. When Silver becomes romantically entangled with beautiful blonde bassist Mietek, the more cunning Golden, who cannot escape her bloodthirsty nature, worries that her sister’s relationship will doom their shared dream of swimming to a new life in America. Continue reading
A group of students are spending the summer vacation at a university camp studying the science of linguistics. One of the camp directors, Jaroslaw, is a young professor who prefers the straightforward, intimate approach to students. He is opposed in his liberal views by Jakub, who likes to manipulate people. There is a confrontation from the beginning when Jaroslaw allows to attend the seminar a student who presents the views not according to the official line. In the end, a jury prize is given to mediocre paper, while the suspected school of thought still draws a recommendation. Finally the deputy rector arrives for the closing ceremonies, and since he disfavors the line of thought awarded by the recommendation the tensions rise. They climax when student in question bites the rector in the ear while receiving recommendation. The confrontation results in a scandal and the police is called in. Continue reading
Two women, one house. An intimate story about a Pole and a German placed by war on enemy sides and their parallel lives accidentally brought together.
The film reflects on the concepts of invaders, victim, guilt and forgiveness. It confronts different experiences and their paradoxical similarities. It deals with the controversial subject of the post-war accountings.
The visual narration is flowing, guided by memories and archives. Traditional documentation confronts experimental use of archival footage in the cinematic impression about displacement. Continue reading