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পরিচালনা করেছেন Agnieszka Smoczyńska
পোল্যান্ড, চেক প্রজাতন্ত্র, 2018


After a two-year disappearance, free-spirited Alicja is reunited with her family despite having no memory of them. Suddenly thrust back into a domestic life she has no recollection of choosing, Alicja struggles to reconcile her new, unfamiliar roles with the independence sprung by her mental break.

Fugue পরিচালনা করেছেন Agnieszka Smoczyńska
[It] offers a cinematic language that functions as both a hammer and a chisel to crack the notion of the self as a solid substance, to reverberate its rough edges in a new shape: a transformation of female identity against social and contextual expectations.
April 12, 2019
সম্পূর্ণ আর্টিকেল পড়ুন
Amnesiac dramas are common, but Smoczynska manages to escape the cliches by making a complex and hostile film that remorselessly interrogates our assumptions about motherhood.
May 22, 2018
সম্পূর্ণ আর্টিকেল পড়ুন
Anchored by finely grained performances, the work examines with unblinking honesty just how friable the bonds can be not only between spouses, but even between mother and child. It may be a little too honest and chilly for some viewers, but for those who swoon over stark visuals, bleak landscapes and Slavic miserabilism among unhappy families, watching this will feel like every Christmas came at once.
May 17, 2018
সম্পূর্ণ আর্টিকেল পড়ুন

মানুষ কী বলছে?

  • Melissa Lynch's rating of the film Fugue

    This movie was very intriguing. It played the story of a woman that did not know she had amnesia. Her family finds her and brings her home only to realize that she did not know who any of the family did not know how to act with the people that knew her best. The camera movement throughout the film made it more interesting to watch. All the actors and actresses in this film fully fulfilled their roles

  • Stefan Drees's rating of the film Fugue

    Smoczyńskas search for identity is an absorbing work of art where. Frames, colors, lights, shadows, atmospheres and sound editing are incredible.

  • Rado's rating of the film Fugue

    This movie questions roles that women are designed to play in our society, from being a mother and a wife, to cleaning cleaning house and wearing make up. After amnesia strikes the main character she’s a tabula rasa, blank card and she declines to be labelled with common roles. FUGUE is a feminist movie, with smart and engaging storyline and fantastic acting by Gabriela Muskala.

  • El Biffo's rating of the film Fugue

    3.4 I wouldn't call this a "typical" Amnesia Movie, but the subtleties that set it apart are vague and fleeting. A film that wants to say something but never quite does.

  • Eric Rucker's rating of the film Fugue

    Conceptually and politically acute script and acting by Muskała, but I was unconvinced by most of the formal choices of direction and cinematography. This intriguing, iconoclastic film heightens the shamefulness of the emphasis on French productions. As of today there are 14. Diversity, please! 7.5 directorial credits for women, double the norm here but still galling. What happened to MUBI?

  • mpho3's rating of the film Fugue

    Love is like punk. Not dead. Gabriela Muskala burns it up in this one. I don't know why people rag on the "amnesiac" genre. Smoczyńska finds the right balance between stark reality and stylistic audio-visual flourishes that punctuate the domesticity Kinga chafes against and the loss of identity that unmoors Alicja. 3.5 stars

  • Wee Hunk's rating of the film Fugue

    I think this movie was trying to piss me off. I prefer that to one that's trying to make me feel good. Probably the most annoying scene was in the restaurant with the guy on his phone. It's a bit of a mystery film, but not really, because all the husband had to do was explain things. But then there'd be no movie. It's the journey, blah blah blah.

  • saitosouta's rating of the film Fugue

    Very opposite to her debut feature "Córki dancingu", a iridescent and delightfully kitschy romp, Smoczynska's latest "Fuga" is a bone-dry psychological drama. Interesting is that her upside-down direction illuminates the labylinth of identity crisis. But sadly, this labrynthine mystery is degraded into ash-gray aridness by too matter-of-fact visual style. Ambitious yet half-baked result. A missed opportunity.

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