Afterimage (Powidoki)


The professor teaches a class of delighted students.

(2016) Biographical Drama (Akson) Boguslaw Linda, Aleksandra Justa, Bronislawa Zamachowska, Zofia Wichlacz, Krzysztof Pieczynski, Mariusz Bonaszewski, Szymon Bobrowski, Aleksander Fabisiak, Paulina Galazka, Irena Melcer, Tomasz Chodorowski, Filip Gurlacz, Mateusz Rusin, Mateusz Rzezniczak, Tomasz Wlosok, Adrian Zaremba, Barbara Wypych, Izabela Dabrowska. Directed by Andrzej Wajda

When it comes to art, the act of creation is a highly personal thing. Style and subject define the artist as an artist and to ask them to create something that isn’t felt, that doesn’t come from the heart is tantamount to asking an artist to slice off a leg and having them serve it up for a backyard barbecue.

Wladyslaw Strzeminski (Linda) is one of Poland’s most notable modern artists. As World War II comes to an end, Poland is going from Nazi occupation to becoming a Soviet satellite state in the Eastern bloc. He had served in the Polish army during the First World War and had lost a leg and an arm in the process. During the Nazi occupation, he defiantly painted subjects that went outside what was permitted and was hailed by Poles as a national hero.

After the war he founded the Higher School of Visual Arts in Lodz along with his estranged wife, sculptress Katarzyna Kobro with whom he has a child, Nika (Zamachowska) with whom he has a relationship that can best be described as guarded. He is teaching eager students that essentially worship the ground he walks on, particularly Hannah (Wichlacz) whose hero-worship might be deepening into something else.

His life is about to turn upside down however. The Soviet state wants art to serve the people and thus wants a style more in line with social realism; Strzeminski has been a champion throughout his career of modernism. When he refuses to adapt his style to Soviet demands, he is fired from the school he founded. Slowly rights and privileges are stripped away from him; his membership in the artist’s trade union is rescinded, meaning he can’t buy art supplies. He attempts to work a menial job essentially painting huge banners of Stalin and other communist icons.  When he is denied even this, he is unable to provide for himself. Most of his art has been taken down from the museums where they have hung for in some cases for 20 or 30 years; he is slowly starving to death and it is a race whether he will meet that fate or whether the tuberculosis which has been exacerbated by his nearly constant smoking will kill him first.

Wajda is one of Poland’s national treasures, a director with a six decade career that have created some amazing films although he remains not well known in the States other than to film buffs. He has an artist’s eye for color and design; his images are often far more than they appear to be, such as when a frustrated Strzeminski flails at store mannequins he’s been hired to dress which symbolizes art flailing away at the commercial.

He is buoyed he by Linda, one of Poland’s most respected actors who plays Strzeminski with a certain dichotomy of often contradictory characteristics; he is an amazing teacher devoted to his students but he dismisses his daughter to an orphanage with a curt “She will have a hard life” by way of explanation. When Hannah declares her feelings for him, he reacts with a stoic “That’s unfortunate” and with two words absolutely destroys her world, and she was one of the few that stuck with him to the very end.

The film posits the question “What does the artist owe more responsibility to, the people or himself?” It is clear which side Wajda was on. I’m not sure I agree completely with him but the man has earned the right to make his stance crystal clear.

The production design ranges from sleek and modern to dingy and colorless. The further Poland falls into Soviet control, the grayer the settings get. Soon the entire city of Lodz becomes dystopian, moving from beautiful European metropolis to soulless Soviet city where conformity is the rule of the day.

Strzeminski often reacts in inexplicable ways which are often detrimental to his own cause, but one admires the fortitude it took to stand up to a powerful and ruthless government that recognizes no other way than the one it endorses which sounds vaguely familiar these days. For those who are big fans of Wajda as I am, this won’t be disappointing. For those who are looking for an introduction to his work it’s one of his best – maybe his very best. The themes he tackles here are pretty much standard for him although the movie is a little bit more mainstream than most of his audience is used to. This is a marvelous movie which you should keep an eye out for once it gets American distribution. In the meantime, look for it on the Festival circuit.

REASONS TO GO: Wajda’s use of color and design is simply amazing. Linda’s performance is more than noteworthy. A work of genius by a master of European cinema.
REASONS TO STAY: The parallels to modern society may hit too close to home for some.
FAMILY VALUES: There is some violence, drinking and smoking.
TRIVIAL PURSUIT: This is Wajda’s final film, directed at the age of 89; He died in Warsaw of pulmonary failure October 9, 2016.
CRITICAL MASS: As of 3/14/17: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Modigliani
FINAL RATING: 10/10
NEXT: When the Bough Breaks

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The Double (2013)


Jesse Eisenberg can't stand to look.

Jesse Eisenberg can’t stand to look.

(2013) Thriller (Magnolia) Jesse Eisenberg, Mia Wasikowska, Wallace Shawn, Noah Taylor, Sally Hawkins, Cathy Moriarty, Chris O’Dowd, Gemma Chan, Paddy Considine, James Fox, Rade Serbedzija, Yasmin Paige, Craig Roberts, Nathalie Cox, Christopher Morris, Tony Rohr, Susan Blommaert, Phyllis Somerville, J Mascis, Natalia Warner, Joanna Finata. Directed by Richard Ayoade

Florida Film Festival 2014

When we look into the mirror, we generally have a good idea at what we’re looking at. What if the face staring back at us, however, wasn’t necessarily our own?

Simon James (Eisenberg) is a cubicle drone for one of those big conglomerates whose purpose really isn’t necessarily apparent. It is run by a mythic figure known only as the Colonel (Fox) who rarely makes appearances but is deeply appreciated and loved by his workers. Simon’s immediate boss, Mr. Papadopoulos (Shawn) can barely remember Simon’s name. In fact, he can’t.

In fact, nobody can. When Simon comes into work one day on the train, his briefcase carrying his ID and pretty much his entire life gets stuck in the doors of the train and is whisked away. The security guard at the front gate doesn’t recognize Simon and isn’t disposed to letting him in at first. Only Harris (Taylor) seems to have any idea that Simon actually works for.

Worse still, Simon pines away for Hannah (Wasikowska) who works the gigantic room-sized copier machine for the company. Too shy to actually ask her out, she is kind enough to him but again doesn’t seem to know that he is anything other than an occasional nuisance, asking for a single copy of a document when, as Hannah’s co-worker points out, the copy department is meant to make thousands of copies of large documents.

However, even this somewhat desperate life is threatened when a new employee arrives: James Simon is his name and he looks like an exact doppelganger of Simon. James is everything Simon is not – cool, confident, instantly memorable, manipulative and without conscience. A mirror image, if you will; reflecting the same person but in reverse. Simon is the only one who notices that James looks exactly like him.

James begins romancing Melanie (Paige), the boss’s daughter whom Simon had been attempting to train (although she is remarkably uninterested in learning anything). While James attempts to help Simon capture the woman of his dreams, it is James that Hannah falls for. It is also James who gets recognized for Simon’s accomplishment. Simon isn’t just fading into obscurity; his life is being usurped.

This played the Florida Film Festival earlier this year and was my favorite film to come out of it. It is based on a short story by Fyodor Dostoevsky, the conceit of which wasn’t especially new even in Dostoevsky’s day. Still, it works as a modern parable of how our personality is more or less a reflection of how others see it – and when others don’t, we begin to fade into oblivion.

Ayoade, a British comedian who has appeared in such films as The Watch also directed Submarine, much of whose cast appears here in various roles and cameos. Like this film, his directing debut also had the subtext of the disconnect between who we are and who we think we are. Here he adopts a kind of retro-futuristic look that resembles the world of Terry Gilliam’s Brazil set in a kind of postwar Soviet environment with recognizable modern technology in large, boxy and hideously inconvenient to use incarnations; personal computers have tiny screens on large grey shells that take up the entire wall of a cubicle, for example. Everything is grimy and dingy, like nobody has bothered to dust for decades. Even the diner that Simon patronizes looks distinctly unappealing, and you just know that any food served by the frowzy waitress Kiki (Moriarty) is going to be tasteless, bland and will probably give you the runs.

Eisenberg is one of those actors who can be dreadfully annoying with his nervous tics and stammering, the love child between Woody Allen and Hugh Grant, but when given the right kind of role, can hammer it out of the park. He seems to excel when given characters who aren’t entirely likable; the less likable, the better – Michael Cera has much the same issue in his career. This is one of Eisenberg’s best performances to date, one in which he plays both the nebbish and the morally bankrupt hipster. Both are personas that he has done before.

The movie is darkly funny with a weird sense of humor that once in awhile comes at you from oblique angles and causes you to laugh not just because the situation is funny but because you didn’t expect it even for a moment. In fact, you are never quite sure where the movie is going, but are content and even eager to let it get you there. That’s the kind of movie that most stimulates me not only as a critic but as a moviegoer.

This isn’t likely to get a good deal of exposure. It’s certainly not a movie that’s for everyone. It is very bleak in places which you would expect from a film based on something written by a Russian writer. However, that bleakness is offset by the cheerfully warped humor and Eisenberg’s dual performance. Mainstream audiences will probably want to give this a pass but if you love movies as much as I do, it is one that you should put on your must-see list.

REASONS TO GO: Wonderful set design and atmosphere. Eisenberg at his neurotic best.  Weird sense of humor.

REASONS TO STAY: A little twitchy in places. Not for everybody.

FAMILY VALUES:  Enough foul language to garner an “R” rating.

TRIVIAL PURSUIT: Although there are several other films with the same title, this is the first to be based on the Dostoevsky short story that bears its name (the Stanley Kubrick film The Partner is also loosely based on the novella).

CRITICAL MASS: As of 5/25/14: Rotten Tomatoes: 82% positive reviews. Metacritic: Metacritic: 68/100.

COMPARISON SHOPPING: Brazil

FINAL RATING: 10/10

NEXT: Winter in the Blood