Released when he was 56, Pawlikowski's patient but dense drama proved it's never too late for talented arthouse filmmakers to launch their career into international acclaim.
Polish auteur
Paweł Pawlikowski continues the legacy of Poland’s
bewitchingly photographed films in this understated, but powerful drama,
Ida. Pawlikowski uses space in his films in such a fascinating way, with his frames dominated by shapes and textures, as his characters wander through landscapes and settings that seem to alternate between burying and absorbing them. It’s a very fitting aesthetic for a film about digging up the past and finding a sense of belonging.
I also love the way Pawlikowski shoots romantic scenes, and it’s an execution that I’ve found I enjoy in general. As in his 2018 film,
Cold War, dialogue often becomes inessential. The scenes are driven by mood, body language and movement. The director also seems to favor jazz as background music in these scenes, connecting its improvisational nature with that of love: at its best when it’s unexpected and unrehearsed. The characters simply exist in the moment, allowing their feelings to carry them along to whatever destination fate has in store.
Comments
Post a Comment