In the winter of 1942-43, a Jewish family leaps from a train going through Silesia. They are separated in the woods, and Leon, a local peasant who's now a farmer of some wealth, discovers ... See full summary »
Her son dying of cancer and her marriage falling apart, Julie flees to Poland in search of a man who can heal using his hands. Julie finds not only a magical cure for her son, but also ... See full summary »
The Vatican sends a priest to verify some miracles, performed by a woman who has been nominated for sainthood. During his investigation, the priest, who is experiencing a crisis of faith, re-discovers his own purpose in life.
The script by Eva Borusevicova describes the true story of Janosik, the XVIII centuries outlaw, who was prowling through Slovak-Polish border. The story of Janosik, a legendary "Central ... See full summary »
The film is set in a small town near Warsaw, to which a young and coming director comes to produce a classic play (Wyspianski "Wyzwolenie") with a modern vein. Everyone in the production ... See full summary »
A film about a film being made by a group of young directors. Story is divided into three parts. The first follows Anka, a girl from a working- class family. She finishes school, plans to ... See full summary »
The film is set in 1905, in a time of feverish revolutionary underground activity in Poland partitioned between three neighbours. All the characters are committed anarchists. The bomb maker... See full summary »
"... Holland is 'one of the great film makers in telling a story, unlike so many Europeans who emphasize character. The American public takes to a film where a story is told well'" (Film Quarterly: Vol.52, No.2, Winter 1998-9, pg3).
This comment, made by Orion's Michael Barker, is not far off the mark--at least with respect to Holland's film: "Olivier, Olivier" (1992). Despite the plot's non-fictional premise--the idea for the film, in fact, is based on a French newspaper item from the early 1980s--Agniezca Holland's ability in fully capturing the truly bizarre nature of this story leaves viewers wondering if she, in making the film, could actually have been working from real-life experiences. Holland lays the storyline out in a traditional, chronological manner but makes sure to jump ahead several years at a time, where necessary, to retain her audience's attention. I am American and I did 'take to' this film. In this sense, Michael Barker is absolutely correct. However, I imagine anyone would enjoy a story as well told as Holland tells this one.
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