A sublimely shot monochrome homage to 1950s European film, Cold War is an impossible tragic love story – a sad ballad of time and place across (east/west) frontiers.
With music the setter of moods (from traditional Polish peasant music to freeform jazz), Oscar-winning writer/director Pawel Pawlikowski (Ida, Summer of Love) focusses on the intimate within the narrative as a magnificent Joanna Kulig (The Innocents, Elles) sings her way to fame in 1950s Poland. A product of a post-war communist youth organisation, it is there she meets Wiktor (Tomasz Kot – Bikini Blue, Gods), music conductor at the folk-music academy. A doomed love affair from Warsaw to Paris, Berlin to Belgrade unfolds over the next 20 years.
Like the story itself, Cold War is starkly beautiful, its intimacy cold, its emotions constrained, distant. An intimate epic.
A world first – a fully painted animation where Vincent Van Gogh’s emotive impasto and bold brushstrokes effectively transfer to the screen.
A year after the artist’s death, Armond Roulin is sent by his father, Postmaster Joseph Roulin, to personally deliver a letter to Theo Van Gogh. Initially reluctant, Armond travels to Auvers-sure-Oise via Paris where he slowly becomes embroiled in the mystery that was Vincent Van Gogh.
The narrative itself may be stilted and slight but technique (more than 100 artists, 853 paintings and 65,000 frames in the 94 minute film) never fails to impress. Painted in the style of Van Gogh, actors (including Douglas Booth, Saoirse Ronan and Helen McCrory) are placed in the artist’s rendered landscapes, creating a living tableaux to tell the story of those tragic last days.
A UK/Polish co-production commissioned by Wroclaw: European City of Culture 2016.
The final film of one of the great European directors – Andrzej Wajda (Man of Iron, Danton) – focusing on one of the great and influential post-war European artists – Wladyslaw Strzeminski.
An individualist who rejected social realism, internationally renowned Strzeminski was undermined and ultimately destroyed by the Polish state system. Wajda quietly and economically tells his story, choosing to focus on the last few years of Strzeminski’s life in Lodz and his fall from professorship at the Art Academy to his work being destroyed by the authorities.
In its quietness there is power, in its nuanced understatement there is anger. And while Afterimage may suffer slightly from its staginess, the strong performance from lead Boguslaw Linda (Summer Love, Pan Tadeusz) helps the film tell its story cleanly and respectfully.
Screened in the Melbourne International Film Festival.
A spate of pregnancies in a post-war Polish convent, the result of Russian liberation from the German army, leads to the questioning of faith by many of the nuns. The arrival of the French Red Cross in the form of Mathilde Beaulieu (Lou de Laage – Breathe, Jappeloup) brings matters to a head.
Based on a true story, this authentic, quietly dignified telling, shot in the limited palette of a Polish winter, focuses primarily on the evolving friendship between Mathilde and Sister Maria (Agate Buzek – Redemption, The Reverse).
But the film, directed by Anne Fontaine (Coco Before Chanel, Gemma Bovary), would have been the stronger without the ‘three months later’ ending.