Film: Ida (2014)
Stars: Agata
Trzebuchowska, Agata Kulesza, Dawid Ogrodnik
Director: Pawel
Pawilowski
Oscar History: 2 nominations/1 win (Best Foreign Language Film-Poland*, Cinematography)
Snap Judgment
Ranking: 4/5 stars
There’s something that American mainstream, and at an
increasingly alarming rate, American independent cinema, seems incapable of
creating, and that is a “moment in life” cinema. Everything that happens in a movie is clear-cut, large, and
obviously important. Graduating
from high school, getting married, a job promotion, or a sudden death in the
family all start out a film, and you know the track of what is to come
next. That’s not the case with Ida, which is truly a wonderfully
constructed film that almost functions as a mystery in addition to its role as
a grim drama, but is clearly European in the way that it doesn’t give you a
crib notes version of what is to come.
(Spoilers Ahead) Ida,
known at the beginning of the film by her assumed name Anna, is a young woman
in 1960’s Poland about to take the veil when she is called to see her aunt
Wanda. There she discovers that
she is in fact Jewish, and most of her family whom she has never known died
during the War. This sets the
women off on a trek to find out exactly what happened to Ida’s parents and
Wanda’s son, and we see a bevy of characters along the way who shape their
worldview.
The film on a baser level is about the juxtaposed
personalities of Wanda, a communist with a flavor for casual sex and a thirst
for alcohol that consumes her, and Ida, pious, unknowable, and hidden away
under a veil, but that’s hardly the purpose of the film. The reality is that we don’t have those
moments very often in the film where these characters change as a result of
knowing each other like we would in most mainstream opposites-in-a-situation
films. Ida and Wanda remain very
much themselves, and instead we are treated to something similar to The Secret in Their Eyes (the recent
Oscar-winning film) where they are simply two people who are going toward the
same goal for different purposes.
The film is staggeringly short at a mere eighty minutes, and
we are never given anything but essential plot, making the film feel a bit
minimalist. The film’s quick
shifts in the final scenes, with Ida letting her veil down for a moment and
Wanda finally discovering the truth but little absolution behind the death of
her son could have been hurt by us not knowing the characters on the screen,
but the script spends so little time on ancillary characters (Dawid Ogrodnik’s
job is really just to ignite sexual desires in the two women and the audience)
that you still feel like you know Wanda and realize that no one will ever
entirely understand Ida (she may not even understand herself).
Both of the leading performances are brilliant takes on
their characters. Kulesza, a
fixture in Polish entertainment for decades, gets the showier role, frequently
finding the rough off-center in her character. Her Wanda never apologizes for who she is, but she’s
self-aware enough to know that she’s made deep, permanent mistakes in her life
that she’ll never get over.
Trzebuchowska gets the harder role, creating a largely unknowable woman
and tipping her hand with the character for us to know that there’s something
darker, more world-aware and perhaps more cunning than meets the initial
eye. Together they create a
fascinating swirl of a movie, and one that feels essential and new, even if
it’s aesthetic is decidedly old-world.
No comments:
Post a Comment