[Endcreditsfilm] End Credits Film Club Screening Ida this Sunday 6th July, 4:30pm

End Credits Film Club information list endcreditsfilm at lists.endcredits.org.au
Thu Jul 3 23:52:12 CEST 2014

End Credits Film Club Presents at 4:30pm Sunday July 6
At CoCA theatre, 96 Abbott Street Cairns
 Poland (M) 80mins

A masterfully understated film from director Pawel Pawlikowski, which proves
quietly compelling and deeply moving.   Homecomings abound in Ida, the
off-screen return of My Summer Of Love filmmaker, Pawel Pawlikowski, to
Poland, the country of his birth. The film is teeming with understated
beauty, and the on-screen exploration of a young novitiate nun into her
unknown past is telling in its revelations. The film¹s director furthers the
promise of a distinguished career by treading delicately but deftly through
a contemplative situation, while his leading character confronts the demons
of history in a quest for identity and a test of faith. The meticulous and
moving Ida is all the better for their respective journeys 

Preparing for her final vows, Sister Anna (Agata Trzebuchowska) is urged to
seek out her only living relative. The hard-drinking aunt that she finds ­
former Communist prosecutor turned magistrate, Wanda Gruz (Agata Kulesza) ­
can¹t offer a friendly face, but can provide answers about her birth name,
Ida Lebenstein, and her heritage. Soon, the novice nun is thrust into a
search for the resting place of her parents, who were murdered during Nazi
occupation. On the unusual road trip, she flirts with the trappings of
secular life as embodied by a kindly musician (Dawid Ogrodnik), and grapples
with being a Jewish orphan on the cusp of committing her life to

Within austere frames overflowing with soft black and white visuals, imagery
is everything, and the film shows more than it says. Cinematographers,
Ryszard Lenczewski and Lukasz Zal, retain a patient gaze as they let the
story wander in and out of sight, employing restraint to tell a tragic and
tender tale. Pawlikowski¹s stellar central duo also conforms to this
approach, conveying the emotion of their odd couple pairing through
expression over dialogue. In the frozen Polish countryside, a return occurs:
to understanding, to catharsis, and to absorbing filmmaking.


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