It’s mounted in a classical, beautifully understated style that throughout conveys the assurance of a true master. It’s one of those films that doesn’t ask to be liked or admired, but only to be heard. Like Darkness at Noon, Nineteen Eighty-Four and other anti-Communist literary classics, its descent into the hell of totalitarianism isn’t softened by a glimmer of solace at the end. It’s the testimony of an artist who has seen the worst of Polish history and demands that it not be forgotten.
May 19, 2017