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Lisa Loven Kongsli,
Adele's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself and ultimately finds herself through love and loss.
Aydin, a former actor, runs a small hotel in central Anatolia with his young wife Nihal with whom he has a stormy relationship and his sister Necla who is suffering from her recent divorce.... See full summary »
War in Georgia, Apkhazeti region in 1990. An Estonian man Ivo has stayed behind to harvest his crops of tangerines. In a bloody conflict at his door, a wounded man is left behind, and Ivo is forced to take him in.
Poland, 1962. Anna, an orphan brought up by nuns in the convent, is a novice. She has to see Wanda, the only living relative, before she takes her vows. Wanda tells Anna about her Jewish roots. Both women start a journey not only to find their family's tragic story, but to see who they really are and where they belong. They question what they used to believe in. Written by
Pawel Pawlikowski drew on his own background for the film. His mother was Catholic, his father was Jewish, and he learned late in life that his grandmother had died in Auschwitz. See more »
Flopped image. Near the end, Ida is resting in bed with her head on a pillow, to the left side of the screen. The close up shot is from above looking down and the image is flipped. A small mole that has been on her right cheek throughout the film is, in this shot, on her left side, and returns to her right side in the following shots. See more »
...come along then. You'll listen to us play, we'll walk on the beach.
Then we'll buy a dog... Get married, have children... Get a house.
The usual. Life.
See more »
The lonely minority of negative Ida reviews have already voiced my overall opinion, but two matters are worth further comment.
Even the dismissive notices praise the cinematography, one critic intoning, "...Pawlikowski has a photographer's eye for composition, and every crisp, monochrome frame could be a postcard from Poland's tragic, turbulent past." If you want crisp monochrome, look at Some Like it Hot or Dr. Strangelove. The quality in Ida is no more than adequate. As for composition, setups that place the center of interest on the lower frame line and often squeezed into one corner reveal not a photographer's eye but a hipster's pretensions.
Another review credits the film with, "...exploring the silence and the empty spaces within the frames to underline the elusive emptiness present in the lives of these two women." This is a very old trick. If you hold on closeups of faces that reveal nothing, the audience will believe the subjects are thinking. Keep holding and holding and holding... and viewers will try to supply those thoughts themselves. Since they won't have much success, many will conclude that they're just not up to this industrial-strength philosophizing. As W. S. Gilbert rhymes in the comic opera Patience,
If this young man expresses himself in terms too deep for me, Why, what a very singularly deep young man this deep young man must be!
The rave reviews for this inflated student film take me back to my youth when we solemnly studied Wild Strawberries and Hiroshima Mon Amour, straining to find the profundities that The Very Best Critics assured us were there. Decades later, these Very Best Critics are still hard at it.
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