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Hi, Tereska (2001)
"Czesc Tereska" (original title)

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Ratings: 7.4/10 from 786 users  
Reviews: 5 user | 2 critic

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Title: Hi, Tereska (2001)

Hi, Tereska (2001) on IMDb 7.4/10

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Cast overview, first billed only:
Aleksandra Gietner ...
Karolina Sobczak ...
Zbigniew Zamachowski ...
Malgorzata Rozniatowska ...
Tereska's Mother
Krzysztof Kiersznowski ...
Stasiek, Tereska's Father
Violetta Arlak ...
Sewing-School Teacher Jola (as W. Arlak)
Andrzej Chudy ...
(as A. Chudy)
Janusz Hamerszmit ...
Policeman Interrogating Tereska (as J. Hamerszmit)
Elzbieta Kijowska ...
Sewing-School Director (as E. Kijowska)
Monika Kisla ...
Shopkeeper (as M. Kisla)
Slawomir Orzechowski ...
Neighbour Kucharski (as S. Orzechowski)
Zbigniew Modej ...
Szary (as Z. Modej)
Arkadiusz Nader ...
Cop at Police Station (as A. Nader)
Andrzej Szopa ...
Choir Manager (as A. Szopa)
Michal Górski ...
(as M. Górski)


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Release Date:

28 September 2001 (Poland)  »

Also Known As:

Hi, Tereska  »

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Featured in Co dalej z toba, Karolinko? (2003) See more »

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User Reviews

Czesc Tereska is a disturbing but hollow depiction.
12 January 2002 | by (Philadelphia, Pennsylvania) – See all my reviews

This Polish kitchen sink film, shot in grainy black and white, is a grim portrait of a young girl who is robbed of the hope of redemption by the violence and emotional bleakness of life in her working class neighborhood. It's a skillfully executed film. The stark cinematography emphasizes the grimy day to day existence that confronts the young protagonist. Actress Aleksandra Gietner's portrayal of the teenage Tereska's fall from grace is impeccable and moving. However, Czesc Tereska is a genre film which has its counterparts in just about every country's cinematic repertory. We've already seen numerous depictions of violence in the slums, drunken, unemployed, physically abusive fathers, sexually voracious peers, dehumanizing educational systems. We've seen how young people self-destruct under the insurmountable accumulating burden of these elements. Czesc Tereska, however poignant, fails to contribute any new insights into the familiar, dreadful progression from purity and hopefulness to depravity and destruction. More troubling is the device that director/writer Robert Glinski inserts into his story in the character of Edek, the paraplegic who lusts after Tereska and becomes her victim. Actor Zbigniew Zamachowski turns in a typically masterful performance in this role, but the interactions between the depraved cripple and the pubescent Tereska somehow remain outside the organic development of the narrative. The lack of clear motivation in the evolution of this perverse relationship makes suspect its violent culmination, and the device which may have been intended to differentiate Czesc Tereska from its multiple cinematic counterparts ultimately causes an otherwise disturbingly realistic depiction to ring hollow.

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