COLD WAR
(directed by Paweł Pawlikowski, 2018)
**** (out of 5)
.
> After the breathtaking artistry of 2013’s IDA, I would see anything by Polish director Paweł Pawlikowski.
. IDA was easily one of the most visually rapturous films I have ever seen. And the critics just love Pawlikowski’s new film! I have read more than one high-profile review that described COLD WAR in terms like: “the perfect film” and “a masterpiece”. It’s been nominated for Best Foreign Language Film, Best Director and Best Cinematography- and it is deserving of the recognition. There is so much to admire here, in this stark, studied tale of thwarted romance behind the Iron Curtain. It is a technical marvel. Still, something felt missing for me.
. Again, we get monumental black and white photography, crisp and clean and high contrast- beautifully lit scenes and impeccably framed camera. Again, Pawlikowski uses a foreshortened format that presents the picture almost as a square instead of a widescreen rectangle. It has the effect of harkening back to another era and squeezing the actors, placing them under constant pressure. COLD WAR had a palpable sense of time and place, and each scene seemed impeccably lit- faces in particular are expertly shot. Both lovers have tired, world-weary faces that are fabulously expressive when so expertly illuminated, (a hangdog Tomasz Kot and a sultry Joanna Kulig, who kept reminding me of a Polish Sam Shepard and a Polish Jennifer Lawrence). The film takes place over many years and shifts episodically and sometimes with very little transition in time and space, visiting Poland, Germany, Yugoslavia and France over its compact 88 minutes. Much great music here too, which is integral to the story.
. But even with its short running time, the film occasionally felt listless and plodding. A number of major plot points absolutely did not work for me. While the character’s actions were intellectually understandable, I did not feel like sufficient groundwork was laid in many areas. This was a big problem for me at the ending. I just wasn’t buying it. The scenes that would have made me feel their motivation simply didn’t exist, or were left on the cutting room floor. Much is implied by context, but not enumerated. I do admire filmmakers who do not feel compelled to spell out every little thing, but sometimes this works better than others. Here, I could have used quite a bit more background on these lovers, that might have gone a long way to make me understand and care about these characters a whole lot more than I did.
. I correctly predicted that ROMA was unlikely to win Best Picture of 2018, despite the fact that it deserved to. Which made it 100% certain to win Best Foreign Language film, as it did. If COLD WAR had not arrived in the shadow of ROMA, I have not the slightest doubt it would have taken the Foreign Language statuette. It’s a stunner indeed. That’s what Paweł Pawlikowski does:
– He makes stunning films.
*
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