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There are so many great things about how this movie is made - the directing, the shots, the tonal quality, and the pacing. Probably most brilliant of all is how the total makes the viewer feel claustophobic. I admit, though, it's a tad dated.
There are so many great things about how this movie is made - the directing, the shots, the tonal quality, and the pacing. Probably most brilliant of all is how the total makes the viewer feel claustrophobic. I admit, though, it's a tad dated.
You might have thought that on May 8th, 1945 the population of Poland would have been united in celebrating the defeat of their Nazi invaders. Instead, though, this film quite deftly illustrates a mixture of joy and trepidation as those who had fought together to free their country now found themselves on opposite sides of a new societal order that was going to pit the freedom-loving Poles on one side with those more Soviet-minded Communists on the other. This polarity is epitomised by "Maciek" (Zbigniew Cybulski) and "Andrzej" (Adam Pawlikowski) who are charged with getting shot - literally - of the communist leader and new minister "Szczuka" (Waclaw Zastrzezynski). They manage to screw their assassination attempt up, though, and innocent people are killed - not the first who die as the infighting between the hitherto allies becomes more violent and potent, with even the strongest of family loyalties severely tested. There's still time for a little romance as "Maciek" takes a shine to "Krystyna" (Ewa Krzyzewska) and as that burgeons, he yearns for a peaceable life in which to live, work and bring up a family. Thing is, can he just stop caring about the politics and settle, or is it too ingrained in him and by staying, might he actually be endangering that which he has come to love? This is one of the more poignant “winning the peace" kind of post WWII stories, with the characterisations ripe with contradictions and challenges, and the director (Andrzej Wajda) also taking a broader look at the remnants of Polish society as a whole from which rebuilding is not going to be easy. This previously devout nation is much less though. The people are weary, depressed and all too ready to sink their sorrows and ambitions in a large glass of vodka. On that last point, there's space for a little bitter humour and that largely comes thanks to an on-form Stanislaw Milski and his professorial-looking "Pieniazek" and we have some devious jostling for position and privilege in the new order to engage us too. The grimness of their situation is well captured by the stylish, almost eerie at times, photography that prevails throughout this authentic looking drama. History tells us what did happen, indeed what was already happening when this was made in 1958 - and that makes this junction box of political and personal choices all the more compelling to watch. It's essentially about people and ideals, and is well worth a look at.
My first Wajda and I really enjoyed it. I thought that Cybulski's performance was great and I loved the scene in the pub where he's lighting vodka shots, which he plays perfectly. The shots of him through the patterned staircase looked amazing in black and white, and especially because of his sunglasses. I did get a bit lost in the politics side of the plot but despite that I didn't get bored and I really liked the romance plot line and the sequence with the drunk secretary. I thought the blood coming through the sheet at the end was a really strong image and the final shot of him running through that kind of wasteland area was a great ending 3.5/5
In an attempt to reignite their relationship, a couple goes on a vacation to a waterpark where they argue incessantly about even the most menial things. The relationship faces an even tougher challenge upon the introduction of a young woman on vacation alone.
"Sleep Sweet, My Darling" shows a bittersweet coming of age of Tomica Skrinjar, starting at the tail end of World War II in 1945.
When a young boy comes in to see a doctor abourt a red mark on his face, the doctor's wife welcomes him into the consulting room instead. As they talk, she offers him something to eat and then notes that his manner of eating is just like that of her previous husband, who died in prison many years earlier. It turns out that the young man had been his cell mate for a year, and he tells her the story of how her husband died. She then remembers (in flashbacks) how she had helped her first husband rid himself of his sexual repression, and how she had promised him she would marry her current husband if she were widowed. It seems her doctor-husband was a man who could remain untouched through any political climate, and was much admired by her first husband. Now that her memories have been awakened by the young man's account, she ignores the repeated phone calls of her current husband and decides to rid this young man of his own sexual repressions.
This film, inspired by Naguib Mahfouz' The thief and the dogs, tells the story of Mahran, a thief who quickly ascends to be the head of his gang. However, his second in command conspires against Mahran to take his position and his wife. After his prison term, Mahran is thirsty for revenge. But being chased by the police and by his new enemies destines him to a tragic life in hiding.
In the wake of the Cairo Fire, Essam feels guilty for betraying his friend Samir by messing around with his wife Madiha. Essam decides to take revenge on Madiha's father who pressured him to marry her to avoid a scandal.
Capri, the owner of a motel, arranges for husbands and wives to meet their lovers in privacy. When a woman fails to show up for a tryst, Capri herself substitutes for the woman. She joins in an orgy with two men and two women and watches a young couple make love for the first time.
Fulfilling her work as a bailiff in Salvador, Íris delivers warrants and is often forced to execute orders that go directly against what she believes in. The job torments her. One day, with the disappearance of an activist after the execution of a warrant issued by her, the officer begins to investigate the crime and finds herself involved in the discovery of a large land grabbing scheme.
USSR, Late November, 1941. Based on the account by reporter Vasiliy Koroteev that appeared in the Red Army's newspaper, Krasnaya Zvezda, shortly after the battle, this is the story of Panifilov's Twenty-Eight, a group of twenty-eight soldiers of the Red Army's 316th Rifle Division, under the command of General Ivan Panfilov, that stopped the advance on Moscow of a column of fifty-four Nazi tanks of the 11th Panzer Division for several days. Though armed only with standard issue Mosin-Nagant infantry rifles and DP and PM-M1910 machine guns, all useless against tanks, and with wholly inadequate RPG-40 anti-tank grenades and PTRD-41 anti-tank rifles, they fight tirelessly and defiantly, with uncommon bravery and unwavering dedication, to protect Moscow and their Motherland.
Young Swedish woman Alice travels with her abusive American boyfriend in the Balkans. As their relationship goes from bad to worse, Alice drifts more and more into an emotional void, which leads to violent repercussions.
Set in New Jersey in 1938, "Drop Dead, Gorgeous" follows the stories of high-society woman Irene Moretti and private investigator Miles Marshall. After Irene's husband, mob boss Luca Moretti, is murdered, Irene hires Marshall to help her flee the country. Meanwhile, her husband's mob connections double-hire Marshall to track down the killer, creating problems for themselves, Irene, and ultimately for Marshall himself. This twenty-minute short film takes inspiration from the classic noir tradition.
A dying man in his forties recalls his childhood, his mother, the war and personal moments that tell of and juxtapose pivotal moments in Soviet history with daily life.
