Poland's post-war landscape is beautifully drawn in Ida, Pawel Pawlikowski's latest masterpiece about a nun who discovers her Jewish heritage.
Agata Trzebuchowska stuns in her debut screen performance as Anna, a novice nun who was raised in the convent. About a week before she takes her final vows, she learns that she is Jewish, and that her ex-state prosecutor aunt, Wanda (Agata Kulesza), is still alive. Anna meets with Wanda to learn about her past -- she discovers that her name was supposed to be Ida -- and the two of them set off on a road trip to their hometown to find the bodies of Anna's parents (Wanda's sister), who were killed in the war. Along the way, Anna begins to see a different picture of the world through her aunt, and learns about some of the secrets that Wanda has held onto for so many years.
Anna and Wanda have a fascinating relationship. While Anna has little knowledge of the secular world outside the convent, Wanda is well aware of it, making a habit of drinking, smoking, and having sex. The two characters stand out starkly against each other, but still find a connection in the events of their past. It quickly becomes apparent that it is not just Anna embarking on a spiritual journey, but Wanda as well, reopening a box of memories that she meant to leave behind.
The cinematography in this film is beautiful: shot in black and white and in 4:3 (the perfect 1960's feel for the story's setting), it relies on some unexpected mise en scene, asymmetrical and sparse, reflecting the stoic nature of Anna's character and the weight of the post-war atmosphere that still lingers. The sound also contributes to this: more often than not giving an echoey, bare feel to the scenes. It is clear that Pawlikowski crafted every inch of this film, and it is easy to see why: taking place in his native country, the project must have been intensely personal. And the effect is breathtaking... it is a story which I feel will stick with the viewer long after watching it.
Come see Ida this week at the Midtown Cinema!
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