The extraordinary true story of Oliver Woodward. It's 1916 and Woodward must tear himself from his new young love to go to the mud and carnage of the Western Front. Deep beneath the German ... See full summary »
Steve Le Marquand
In May 1944, a group of French servicewomen and resistance fighters are enlisted into the British Special Operations Executive commando group under the command of Louise Desfontaines and ... See full summary »
An investigation of the massacre of 24 men, women and children in Haditha, Iraq allegedly shot by 4 U.S. Marines in retaliation for the death of a U.S. Marine killed by a roadside bomb. The movie follows the story of the Marines of Kilo Company, an Iraqi family, and the insurgents who plant the roadside bomb.
Set during World War 2. After the Nazi Germany invaded Poland in September 1939, Russia invaded Finland in November 1939. Finnish reservists leave their homes and go to war. The film ... See full summary »
Near the end of World War II, 14-year-old Michiel becomes involved with the Resistance after coming to the aid of a wounded British soldier. With the conflict coming to an end, Michiel ... See full summary »
Yorick van Wageningen,
Jamie Campbell Bower
On 17 September 1939, a group of Polish officers and soldiers are imprisoned by the Soviet Army on the border of Poland. Anna and her daughter Nika travel from Krakow to meet her husband and officer Andrzej and they try to convince him to leave the soldiers and escape back home. However, Andrzej refuses to leave the troop and is deported to USSR. Later the Soviet tells that the Polish officers had been massacred by the Germans in the Katyn Forest with a shot on the back of the neck. However Anna retrieves Andrzej's diary and discloses that the soldiers had been actually murdered by the Soviet Army. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The director's father was killed in this massacre. Andrzej Wajda was only 13 years old then. His father's remains were never found. See more »
(1h 24min in): When Tadeusz tears down the poster, we can see that he rips most of it from the wall. In the next scene when soldiers come, there is a close-up of a soldier holding the pieces of the poster that are much larger than those left by Tadeusz. See more »
I watched "Katyn" on a home computer screen. Even in that limited format, "Katyn" had an impact on me comparable to such cinematic greats as "Lawrence of Arabia." I cried throughout most of the film. I resolved that many of my relationships would be different. I remembered people I had known who reminded me of characters in the movie. After the film ended, I felt that I could not listen to the radio or read the newspaper or listen to anyone speak. I just needed to allow the film to sink into me.
Naysayers have critiqued "Katyn" as boring and dull. If you need a film to depict war, occupation, and atrocity as shiny, compact, and compelling as a sports car, then you should listen to those naysayers; don't watch "Katyn," rather, watch the very silly, teen fanboy-friendly Quentin Tarantino flic, "Inglorious Bastards." If you've seen enough Hollywood productions jam-packed with sexy Nazis and happy endings, and you want to take in a film that dares to depict, in eyeblinks, what war, atrocity, and occupation looked like and felt like to real people, then by all means see "Katyn." One of the many features that I admired: "Katyn"'s Nazis are not sexy. They are not Tom Cruise, Liam Neeson, Christoph Waltz. "Katyn"'s Nazis are brutal, repugnant thugs.
I respect this movie. There are too few movies about which I'd say that. It shows the courage not to attempt to weave an uplifting, feel-good atrocity narrative that leaves the viewer with a smile. This isn't "Schindler's List." "Schindler's List" is a very good movie, but this isn't that. It is, rather, very much like what World War Two and the subsequent Soviet occupation sounded like to me when I listened to my own older friends and relatives, who lived through both. This is disjointed narrative, stories that seem headed for redemption or even ecstasy but that end in random death, that end in aborted normalcy, aborted joy, aborted meaning. I felt, in watching these cold, pale, stoic characters, as if I were, once again, sitting across the table from older Eastern European friends and relatives. Yes, that's what they looked like. Yes, those are the facial expressions they assumed when they talked about the uncle who was rounded up and never heard from again, the daring, handsome lad who ended up in a mass grave or when they pointedly did *not* talk about these people. The gravestone whose inscription dares to tell the truth; the tearing down of a propaganda poster; the Red Army soldier who struggles to do the right thing by a widow, who won't yet admit that she is a widow; the singing of exactly the right Christmas carol at exactly the right moment: those are exactly the heroic gestures that no one ever saw, that went unrecorded, that only one person lived to tell about, to tell me. Here they are, on screen.
When a movie is named "Katyn" the viewer knows how it will end; it's kind of like a movie named "Auschwitz" or "Kolyma" or "Wounded Knee." There isn't going to be a surprise ending. I was still surprised by the ending, by how courageous and moving I found it. Once again, Andrzej Wajda managed to wow the film-goer in me. And he managed to move the human in me.
See "Katyn." See a movie you can respect, a movie that is worth your time.
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