IDA by Pawel Pawlikowski
Ida is a film set in 1960’s Poland by director Pawel Pawlikowski, and it recently won Best Film at The London Film Festival. It tells the story of a sheltered orphan Ida, who has grown up in a monastery since being left there as a baby in 1945. She is sent to meet her Aunt Wanda before she takes her irrevocable vows to become a Nun.
What follows is a voyage of discovery as she realises that she is in fact Jewish and that her parents died whilst being sheltered from the Nazis. The conflict and tension in the film comes from her relationship with her promiscuous, free-spirit Aunt Wanda. For her only living relative to be such a contradiction to her upbringing, launches her into a world of hedonism, temptation and throws into question everything she has known. Throughout these few days with Wanda, Ida experiences more life than she has done in her entire 18 years.
Ida implores Wanda to help her discover the truth behind her parents’ deaths. Wanda is a complex character who is haunted by her past actions as a Prosecutor throughout this pivotal era of Polish history. Both characters are wonderfully drawn and their stark differences wonderfully depict how ultimately isolated from the world they both are.
The film is in black and white and the cinematography is wonderful. The grey, black and white colours beautifully capture the bleak landscape and the static camera puts all of the focus onto the characters. This was refreshing to have a film so focussed on character and story rather than showy visual effects or camera tricks, like with many Hollywood films. The captivating story had me gripped throughout and I was fascinated to see which route Ida would ultimately take.
There is a beautiful shot of Ida descending a foggy, spiral staircase as she heads down into a late-night Jazz club to experience life. This beautiful visual is the perfect metaphor for her venturing off her religious path and into the uncertain world of real life.
The film is dramatically understated, with a heart-breaking moment seemingly coming from nowhere towards the end of the film. In reflection, that moment makes entire sense but was still shocking in its unexpectedness. Trzebuchowska performance as Ida is excellent but Kulesza steals the film with her funny, tragic and multi-layered portrayal of Ida’s Aunt Wanda.
Setting the film shortly after this tumultuous era of Polish history, gives the film a power and poignant sense of hurt throughout. The director Pawlikowski mentioned that the film hadn’t suffered a reactionary reception in Poland and was less accusatory in tone than The Aftermath. He cited influences from Bergman, Bresson and the Czech New Wave cinema and aimed to avoid exposition throughout this film. He also mentioned the weight he was able to achieve through the static shots.
This screening was at Barbican and was part of Kinoteka, the 12th Polish Film Festival, which runs until 30th May. The film will have a general release in September and I’d recommend anyone with a genuine interest in cinema should watch it.
http://www.pawelpawlikowski.co.uk
Barbican’s current film showings can be seen here.
Written by Martin Stocks | @Stocks1986
