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Avis des critiques
Cold War
Paweł Pawlikowski Pologne, 2018
Like Cuarón’s film [Roma], Pawlikowski’s is a biography of his parents. By the end things get lugubrious, as they often do in relationships at that point.
February 22, 2019
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From the first, watching Cold War we know—with joy and relief—that we’re in the hands of an artist with vision, an artist whose aesthetics will shape and give meaning to his material. The film has a grand story to tell, but it’s as much about the telling as the story itself.
January 11, 2019
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Of course, Cold War’s Joanna Kulig and Tomasz Kot do consummate their love to an extent In the Mood For Love’s Maggie Cheung and Tony Leung do not—but the Poles’ pan-European exodus percolates with the same sadness of Wong Kar-wai’s 2000 masterwork, bursting with an ineffable sense of timelessness only the classics exude.
December 28, 2018
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The staccato structure lets us bask in this beautiful love–all longing looks and piano trills and torch songs and blond bangs and limbs entwined on a cobblestone streets–without getting bogged down by the geopolitical and personal suffering it causes.
December 23, 2018
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The fleeting, but significant, reference to a presumably Jewish performer who is too dark to belong to the ersatz folk music ensemble that, over the course of the movie, becomes a symbol of People’s Poland, is but one element in the adroitly drawn sense of mid-20th-century exile, displacement, cultural upheaval, and political oppression.
December 14, 2018
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The screenplay and editing are marvels of economy, wit and depth. The casting and staging of the actors, the choice of locations, the use of extras, the sound — all impeccable, utterly believable, human and real. Every flawless frame of “Cold War” leads to the knock-out punch at the end.
December 13, 2018
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As in Kieslowski’s White, too much drama hangs on the thinly stitched femme-fatale premise. . . . Cold War isn’t devoid of profound pleasures, however. Foremost is Pawlikowski’s shrewd use of folklore, at a time when Poland’s rightist government is deploying dubious versions of World War II history and folk traditions.
November 02, 2018
Like Pawlikowski’s 2014 Academy Award winner Ida, Cold War is shot (by cinematographer Łukasz Żal) in glistening, razor-sharp black-and-white that draws stark contrasts between lucid northern light and shadowy interiors, and directed in a refreshingly old-fashioned style of deliberate, sensuously austere compositions.
October 30, 2018
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The film’s first half is fascinating, with its presentation of Polish folk-songs and dancing. . . . The second half of the film seems sketchier and less interesting. The action repeats, with variations, and the music that the pair perform is more familiar.
October 07, 2018
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Mr. Pawlikowski compresses entire worlds into this exquisite black-and-white drama, which movingly sets love, art and self-determination against tyranny.
October 03, 2018
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As handsome as the results may be, the same underlying problem that nagged at Ida nags at Cold War: namely, the utter lack of personality behind these immaculately composed images. For all his allusions to the contrary, Pawlikowski may be contemporary cinema’s foremost metteur en scène.
September 01, 2018
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A lifeless slab of cinema of the very highest quality that feels precision-tooled to follow in the footsteps of his previous film, Ida (2013), all the way to the Kodak Theater come next February. Each of its elements appears to have been chosen for maximum prestige impact, rather than their ability to form an organic whole.
July 11, 2018
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Pawlikowski refuses to establish the couple’s passion early on, the way a more typical love story might. Instead, he lets us discover it, gradually. In fact, this may be something more than mere love: It’s a compulsion, a codependence, a mutual assured self-destruction. The more we see this relationship, the more its mystery grows. That is the profound, beguiling truth with which Cold War ultimately leaves us.
May 14, 2018
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Tableaux of gorgeous idylls alternate with passages of music and dance; the lovers separate and reunite and separate again, beset by forces greater than themselves. But here, always, the music remembers. Far more than the deterministic closing passage, it’s Kulig’s desperate, yet joyous dance to Bill Haley & His Comets’ “Rock Around the Clock”—a rare, bracing moment of liberation—that will linger.
May 12, 2018
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It deftly walks the line between appropriately somber and great, sophisticated fun. . . . Pawlikowski keeps a tight rein on the story’s tone and mood, and perhaps it’s by design that you don’t really see the love between Zula and Wiktor develop: It springs fully formed, like Athena bursting from the head of Zeus. It’s that fierce and heartless.
May 11, 2018
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You could say that the film is most likely to appeal to baby boomers such as myself, for whom the era described was the backdrop to our childhood, but this film fizzes with a devotional energy and political relevance that will transcend any such pigeonholing.
May 11, 2018
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Bittersweet and unbearably lovely, a sad ballad of two lovers who can’t stand to stay apart but also sometimes can’t stand each other either. [It’s a]chingly romantic but also wryly realistic about the destructive power of eros.
May 10, 2018
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