Magnesia or resuscitation of the deceased
Although it might seem that the gangster comedy convention, additionally strengthened by western (or rather eastern) genre, is a perfect excuse to face the toxic image of Polishness…
Although it might seem that the gangster comedy convention, additionally strengthened by western (or rather eastern) genre, is a perfect excuse to face the toxic image of Polishness…
Since Dogs could be analyzed as a mirror of the male world just after Polish political transformation, we can assume that the last part of the series, Dogs 3: In the Name of the Rules, which has just hit the Polish cinemas, will be a portrait of masculinity after more than 30 years from the memorable year of 1989.
Bartosz Kruhilk, debuting as a director with his Supernova, seems to be well aware of the tensions that lie in Polish society. The young artist bravely scratches the wounds and sense of injustice and builds a simple but surprisingly effective thriller that has the viewers on the edge of their seats.
The Polish candidate for the Academy Award, Jan Komasa’s Corpus Christi, is a film that, at first glance, fulfills a wish for such Polish socially involved cinema that could deconstruct the society’s relations of power. A cinema that could criticize closed to human needs clergy and authorities which are traditionally caring only for their own interests. In fact, Komasa’s latest work fulfills this dream only on paper.
I hold to the principle that if I start watching a movie, I watch it to the end, so I feel a certain obligation to explain why I actually left Bird Talk.
This year’s winner of the International New Horizons Competition, Agnieszka Smoczyńska’s Fugue, is a drama with psychological, dark-mooded surplus, which in Poland falls on an extremely absorbent ground.
A good film criticizing the operations of any large public institution not only draws attention to the problem, but also seeks its source. What connects most of the socially-involved productions allegedly “attacking” the Catholic Church is showing corruption that has become the daily bread for this institution, something as natural as breathing.
Jagoda Szelc plays very effectively on fears deriving from rational-irrational tension. Fears that have become one of the fundamental elements of everyday life in Poland.