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Title: Ida (2013)
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| Cast overview, first billed only: | |||
| Agata Kulesza | ... | Wanda | |
| Agata Trzebuchowska | ... | Anna | |
| Dawid Ogrodnik | ... | Lis | |
| Jerzy Trela | ... | Szymon | |
| Adam Szyszkowski | ... | Feliks | |
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Halina Skoczynska | ... | Mother Superior |
| Joanna Kulig | ... | Singer | |
|
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Dorota Kuduk | ... | Kaska |
|
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Natalia Lagiewczyk | ... | Bronia |
|
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Afrodyta Weselak | ... | Marysia |
| Mariusz Jakus | ... | Barman | |
| Izabela Dabrowska | ... | Waitress | |
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Artur Janusiak | ... | Policeman |
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Anna Grzeszczak | ... | Neighbour |
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Jan Wociech Poradowski | ... | Father Andrew |
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 Anonymous
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While French artsy-critic magazine "telerama" gave it an ecstatic review, there is one thing I wasn't prepared for: the quality of the images. Set in an almost-but-not-quite faded black and white, of about completely square format, I was sure the movie, set and shot in Poland, was using some obscure last reels of some obscure special negatives, developed in a forgotten cold-war era lab... Well, according to the credits, that was all digital, from start to finish. All the haters of DDD processes out there (I'm one of them), we can now be assured the modern film-maker has today the ability to really work on grain, under-exposure, blurred shadows and all that; Wiene, Murneau, Dreyer, Eisenstein and Lang be damned.
I was stunned. This, and the quite audacious camera angles, the ever so close close-ups that only half a face remains visible. I even noticed what should be considered an error (walking in the forest, you only see the characters up from their ankles, missing their feet labouring trough the undergrowth)... And it just works because of the richness of the various tree trunk's winter greys.
Add to that the settings, the aesthetics of semi-derelict post-war communist décor, and the odd 'innocent girl meets nice boy' arch-cute scene, but that was to be expected from the start, even if it is just about perfect. The Hotel is... A graphic masterpiece in itself.
So yeah, the movie is worth it's weight on that alone already, and then there is Agata Kulesza, so absolutely right every part of her role as Aunt Wanda, so whole and complex inside a movie that doesn't otherwise spend lengths on character's backgrounds that she just draws you inside, whether you know her story, her past, her issues or not. A jaw-dropping performance.
This movie should not be called Ida, but Wanda.