Directed by:
Paweł PawlikowskiCinematography:
Łukasz ŻalCast:
Joanna Kulig, Tomasz Kot, Borys Szyc, Agata Kulesza, Cédric Kahn, Jeanne Balibar, Adam Woronowicz, Adam Ferency, Dražen Šivak, Slavko Sobin, Aloïse Sauvage (more)Plots(1)
This sweeping, delirious romance begins in the Polish countryside, where Wiktor (Tomasz Kot), a musician on a state-sponsored mission to collect folk songs, discovers a captivating young singer named Zula (Joanna Kulig, in a performance for the ages). Over the next fifteen years, their turbulent relationship will play out in stolen moments between two worlds: the jazz clubs of decadent bohemian Paris, to which he defects, and the corrupt, repressive Communist Bloc, where she remains—universes bridged by their passion for music and for each other. Photographed in luscious monochrome and suffused with the melancholy of the simple folk song that provides a motif for the couple’s fateful affair, Paweł Pawlikowski’s timeless story—inspired by that of his own parents—is a heart-stoppingly grand vision of star-crossed love caught up in the tide of history. (Criterion)
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Reviews (11)
I just don’t understand how a movie, which is the least comprehensible in terms of filmmaking I have seen in years, can get into the Oscar nominations for foreign language film category. Despite the fact that the Poles are now making so many much nicer movies. Of course, this film has also some qualities, that’s without saying. The idea of telling a story in the form of fragmentary scenes that are constantly torn to reconnect under the onslaught of Polish bagpipers is a virtuous and original idea. But I still had a hard time to not switch the TV off wanting to never see this film again after yet another scene with the bagpipers or the singing girl. In the end I finished the movie, I admit it’s original but… I don’t want to ever watch it again! If Cold War wins the Oscar for foreign language film, it will not win because of the movie itself, but because the Polish cinematography is currently the best one in Europe.
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I spent my entire youth in communist ugliness, but today I look at it like an exotic animal in a zoo somewhere. Foldyna and Kateřina Konečná probably shed a nostalgic tear at the sight of the Soviets honouring Stalin, but fortunately for the rest of us, our memories have been irretrievably swept away by time. The film thankfully doesn't get too caught up in politics and is aesthetically beautiful, I haven't seen such stunning black and white cinematography in a long time, it's a treasure these days. The love story is simple but touching, the protagonist reminded me of Léa Seydoux, charismatic and beautiful. And she sang beautifully, whether Polish folk songs, which also have something to them, or chanson. The ending is all the more crushing in its austerity, without any cheap tear-jerking.
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With Ida, Pawlikowski tested my patience with his intimate approach a while ago, but my first encounter with his work was definitely not unpleasant. Cold War is a film of a different caliber in that it is easy to watch without any issues, and it is accessible and pleasant in its own way. The question is whether this characteristic would please Pawlikowski. After all, he clearly wanted to make a drama that would make a more significant statement about his time period and the systems that dictated the direction in Europe back then. The title itself testifies to that. He wanted to show the malice of the great events that dictate the fate of the loving couple, exposing the unfortunate individuals. Unfortunately, he failed to do that, and if you want films that significantly reveal the mechanisms of social movements, you have to look elsewhere, primarily because Pawlikowski chose the wrong protagonists. In order for them to miss each other, they don't need the adversity of political systems because they are perfectly capable of creating obstacles themselves. They are the kinds of people who can keep an entire army of relationship coaches occupied and driven to despair, and at the end of their journey, they have a series of love acrobatics and probably several failed marriages behind them. They confuse love with infatuation and fail in a number of basic skills necessary to maintain a long-term partnership. Cold War is worth seeing because of its cinematography and especially for its musical dimension. Pawlikowski knows the craft of filmmaking, and he also chose solid performers for the main roles. It's just that it lacks the depth he wanted to work with. Overall impression: 75%.
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Cold War is a wannabe artsy melodrama in which the central duo, instead of being together,
repeatedly and VOLUNTARILY choose different life paths so that they can regret it later. And then
they just happen to meet occasionally over the years to ask each other how they are doing. Plus, it’s
an emotion-free movie that looks like it doesn’t want you to experience their love and does not need
you to understand all of the decisions they make. A melodrama about a pair as black and white as its
pretty 4:3 aspect ratio, for which I’m giving it the third star. Cold War is a cold film. [Cannes]
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Visually, Pawlikowski excels even more than in the Oscar-winning Ida, which he copied through his black-and-white image and aspect ratio, and at least in the first half hour his film is able to enchant through its ferocious and dynamic direction and the story of a folk singing and dancing choir that must submit to the wishes of the regime. The subsequent main plot, a melodrama about two unsympathetic protagonists who would really like to be together, but do everything they can so that they can't be together, gets tiring faster than the omnipotent song ojojoj.
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