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)VOD (1)
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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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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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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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At the first fleeting glance, Cold War is the opposite of Ida. Though it could seem that Pawlikowski, following the success of his inconspicuous breakout film, is banking on festival success and awards, Cold War is surprising in how it differs from Ida in every respect, except for the basic foundation of a purely personal theme and the reflection of Polish historical and moral tragedy through that theme. Nevertheless, this level lies rather on another plane this time and the screen belongs predominantly to a destructive yet elemental romance. It cannot be denied that Pawlikowski has Cold War thought out in detail, thanks to which he does not slide into mannerisms or mere copying of Ida. The storytelling through music, linking the romantic and socio-political storylines with the central motif of music, and the conceptual use of the classic format and primarily the interplay of all of the above-mentioned elements in the interest of the work’s dramaturgy and its narration prove that Pawlikowski is a brilliant director who has matured in the course of his own creative renaissance. Of course, the question arises as to what he will come up with next and whether he will go in a new stylistic direction, or if he will continue to stand at the fore of festival nostalgia following the peak era of auteur filmmaking (at which Marhoul’s The Painted Bird also stands). However, it is also necessary to recognise that Cold War (like The Painted Bird) cannot be viewed in a limited way as a mere assemblage of allusions, as these represent the absolute last of the merits of this refined and emotionally pulsating film.
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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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