This is the revelation of a retro-styled star of the highest magnitude.) It seems hardly possible that she covers so much emotional territory. Kot and Kulig have by then forged such an indelible romance that we’ve come to believe in its persistence. “Cold War” concludes with a forced finality that feels like the film’s only stray step. It’s also animated by the filmmaker’s own political struggles in Poland, where “Ida” was made a campaign talking point by a nationalist right-wing party that, once in office, drew international criticism for its own ideological management of Polish heritage. It’s more mythically drawn, and seen with a weary, backward-looking resignation. Whereas the year’s other stunning black-and-white excavation of family past - Alfonso Cuaron’s “Roma” - is based on Cuaron’s own memories, Pawlikowski’s film is less a literal recreation. “Cold War” is dedicated to Pawlikowski’s parents, whom the protagonists are loosely based upon. A relationship always tumultuous turns tragic without a country.
They make a record of Zula but she curses the French translations of the songs they sang in Poland. When they do finally make a life for themselves in Paris, it’s warped by the emptiness of exile. Just as crucial moments rob Zula and Wiktor of years together, time simply gets edited out. In Pawlikowski’s film, it’s often what happens in between the cuts that hurts the most. It will be years before they reunite in Paris. While on tour, Wiktor and Zula resolve to flee to West Berlin, but Zula stands him up. Soon, they are singing communist anthems with an enormous curtain of Stalin draped behind them. With Zula front and center, the show is a hit, a success the state quickly co-opts for propagandist means. While they lie in a field, she pledges her fidelity to Wiktor even while confessing that she’s reporting on him to their communist supervisors. At first, the perilous air of a femme fatale hangs over her. Wiktor promptly, inevitably falls for her and Zula isn’t far behind. “He mistook me for my mother so I used a knife to show him the difference,” Zula later explains.
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The school’s other director dryly notes Zula isn’t the mountain girl she pretends to be, plus she’s on parole for killing her father.
She doesn’t sing as well as some of the others but she catches the eye of the immediately infatuated Wiktor. During tryouts, one student stands out to Wiktor: a striking, sultry blonde named Zuzanna, or Zula (Joanna Kulig). Pianist Wiktor Warski (Tomasz Kot) is traversing the bleak winter countryside of Poland in 1949 to record folk music and hold auditions for a new school of traditional song and dance. “Open up my love, for fear of God,” they sing. But “Cold War” begins with a folk song, sung directly into the camera by a pair of peasants, whose plaintive tune foreshadows the heartbreak to come. Wa_cq_url: "/content/It’s similarly set in post-war Poland, shot in pristine black-and-white by cinematographer Lukasz Zal, framed in a boxy academy ratio and has jazz music drifting evocatively through it. Wa_audience: "emtaudience:business/btssbusinesstechnologysolutionspecialist/developer/softwaredeveloper", Wa_rsoftware: "rsoftware:developmenttools/performanceanalyzers,rsoftware:componentsproducts/intelgraphicsperformanceanalyzers,rsoftware:developmenttools", Wa_emtcontenttype: "emtcontenttype:softwareordriver/software",
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