Paweł Pawlikowski
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These love scenes occur in a provincial hotel like the one in Andrzej Wajda’s Ashes and Diamonds.
There are echoes of Andrzej Wajda’s Ashes and Diamonds (1958) and Janusz Morgenstern’s Goodbye, Until Tomorrow (1961), both of which starred Cybulski, as well as Jerzy Kawalerowicz’s Mother Joan of the Angels (1961), and although none of these luminously monochromatic movies used the boxy 4:3 aspect ratio that Pawlikowski employs; neither would they have discussed the fate suffered by Jews during the German occupation so vividly or evoked the shabbiness of the Communist regime as straightforwardly.
Set in the Poland of 1962 and composed of austerely gorgeous black and white images, Pawel Pawlikowski ’s "Ida" could fit right into the "Masterpieces" series, evoking as it does films ranging from Andrzej Wajda ’s "Innocent Sorcerers" to Jerzy Kawalerowicz’s "Mother Joan of the Angels" (both 1960).
There are echoes of Andrzej Wajda’s Ashes and Diamonds (1958) and Janusz Morgenstern’s Goodbye, Until Tomorrow (1961), both of which starred Cybulski, as well as Jerzy Kawalerowicz’s Mother Joan of the Angels (1961), and although none of these luminously monochromatic movies used the boxy 4:3 aspect ratio that Pawlikowski employs; neither would they have discussed the fate suffered by Jews during the German occupation so vividly or evoked the shabbiness of the Communist regime as straightforwardly.
It’s a film of moments, observations and moods, with a lyrical unfolding that recalls such atmospheric monochrome road movies as Wim Wenders ’ "Kings of the Road."
Akin to 1994's "Heavenly Creatures" without the murder and fantasy sequences -- and with a twist of distrust hanging in the air -- "My Summer of Love" is a squirmy parable about two 17-year-old girls from opposite ends of the social spectrum who find in each other's company a powerful but uneasy release from their individual angst.
There are shades of Peter Jackson's Heavenly Creatures here, as well as echoes of Bernardo Bertolucci's The Dreamers.
In this regard, My Summer of Love calls to mind other recent sapphically inclined coming-of-age films: i.e., Show Me Love, Lost and Delirious, The Dreamlife of Angels, and Heavenly Creatures.
Peter Jackson explored one in his incendiary 1994 "Heavenly Creatures," and now Polish-born British director Pawel Pawlikowski gives us another in the exceptional "My Summer of Love," a film as different from its Sandra Dee teensploitation title as its two protagonists are from each other.
Director Pawel Pawlikowski, whose last film, "Last Resort," was a minor revelation (as well as Paddy Considine's first starring role), has chosen to adapt a novel (by Helen Cross) which demands comparison to "Heavenly Creatures," Peter Jackson's better film from 1994.
Nobody who knows Claude Lanzmann’s “Shoah” can forget the sequences filmed in Poland, some of them near former extermination camps.
“If you could lick my heart it would poison you,” an aged Polish Jewish partisan tells Claude Lanzmann near the end of Shoah .
La Dolce Vita (1960)
Directed by Federico Fellini
influenced Cold War (2018), Ida (2013)
Themes Visuals
Both will remind movie fans of midcentury foreign films in which artists such as Jean-Luc Godard and Federico Fellini gave us tales of mad, inexplicable love like “Breathless” and “La Dolce Vita.”
Pawlikowski ( Last Resort , My Summer of Love ), coyly illustrates the situation with an opening scene involving a statue of Jesus that plays like a sanctified version of Fellini’s famous start to La Dolce Vita .
Set in the Poland of 1962 and composed of austerely gorgeous black and white images, Pawel Pawlikowski ’s "Ida" could fit right into the "Masterpieces" series, evoking as it does films ranging from Andrzej Wajda ’s "Innocent Sorcerers" to Jerzy Kawalerowicz’s "Mother Joan of the Angels" (both 1960).
In the context of a story about a virginal, silent novice, this is practically the equivalent of Natalie Wood’s Louise in Gypsy first stepping out to sing “Let Me Entertain You.”
The gorgeous black-and-white cinematography resonates to Polish master Andrzej Wajda’s treatment of similar subjects—the post-Holocaust Landscape After Battle (1970) and Man of Marble’s (1977) rebuke of Communist heroes—but with even more poetic lyricism besides the poignant social realism.
An austerely heightened tale of sensual anxiety, My Summer of Love is shot in a gorgeous, saturated handheld style that recalls the Danish Dogmatists but also carries premonitions of perversity and dread that reach back to such Roman Polanski films as Knife in the Water and Cul-de-Sac.
The relationship between the two is worthy of the Bresson of Diary of a Country Priest, and far more intense than the simple plot outline of what is only an eighty-minute film.
I almost expected to see the donkey from Au Hasard Balthazar wandering about in the background.
But there’s also a pervasive, underlying layer of personal hardship and struggle: It doesn’t feel like a stretch to place Ida alongside, say, Roman Polanski’s Macbeth and Elem Klimov’s Come and See, films haunted by the loss of a spouse and a subsequent darkening in the filmmaker’s view of the worldview.
It’s in hotel lounges and jazz cellars that Ida hits a vein of melancholy cool—in low-vaulted bars where a torch singer (Joanna Kulig from Elles and The Woman in the Fifth) silkily croons, and where a dashing alto saxophonist (Dawid Ogrodnik, bringing a dash of Fifties Polish icon Zbigniew Cybulski) touches on a secular nerve in Anna.
But there’s also a pervasive, underlying layer of personal hardship and struggle: It doesn’t feel like a stretch to place Ida alongside, say, Roman Polanski’s Macbeth and Elem Klimov’s Come and See, films haunted by the loss of a spouse and a subsequent darkening in the filmmaker’s view of the worldview.
Though the bleak snowscapes are evocatively shot by Lukasz Zal (Ida), I'm Thinking of Ending Things is essentially a chamber drama in which Plemons and Buckley have long conversations covering everything from celebrated intellectuals (with quotes!) to recent Twitter debates.
These two actors, framed and lit by cinematographer Lukasz Zal (“Ida,” “Cold War”), close-ups that suggest layers of being, and so, so much Buckley moving from woozy congeniality to tipsy top of the morning to multiple intellectual streams, ticking along with a rhythm both assured and lavishly lackadaisical, so much meta on the way to meet his parents (shape-shifting David Thewlis and Toni Collette).
It's also shot in the squarish 1.33:1 aspect ratio, even getting 1.33:1 specialist ?ukasz ?al (of Ida and Cold War ) to serve as cinematographer.
During the drive out, cinematographer Lukasz Zal ( Ida , Cold War ) encloses the young woman and Jake in the car with a squared-off aspect and uses close-ups to great effect in internal scenes throughout.
Y ese colegio de pasillos largos e iluminados por el director de fotografía Luckas Zal (Ida y Cold War) puede hacer recordar a los del hotel de El resplandor.
(If you didn’t see Wladyslaw Pasikowski’s Aftermath in this year’s Jewish Film Festival, that second part will feel more shocking.)
First shown in Poland at last October’s Gdynia Film Festival (where it won multiple Golden Lions for best film, best cinematography, and Kulesza’s performance), Ida was thought by some local critics to be an answer or corrective to W?adys?aw Pasikowski’s 2012 Aftermath, a ferocious and polarizing exposé of wartime crimes committed by Poles against their Jewish neighbors.
As Anna hunts down the awful truth of what happened to their family, the revelations defy the myths and stereotypes the Communists perpetuated about the Nazi occupation, about the fate of Jews in small towns, about the resistance, and, especially, guilt, with some parallels to Wladyslaw Pasikowski’s Polish drama Aftermath last year.
An eerie electronic score by Mica Levy of the avant-pop group Micachu and the Shapes is reminiscent of György Ligeti’s heady compositions for Kubrick’s 2001 , The Shining and Eyes Wide Shut .
Serene images of nuns and novitiates singing in the chapel and eating quietly together recall Philip Groning's Into Great Silence.
What distinguishes this British import from "A Summer Place'' and other Hollywood tales of impossible first love isn't the lesbianism, which director Pawel Pawlikowski wisely plays down.