‘Cold War’ proves that black-and-white doesn’t necessarily have to rhyme with visual austerity, at least in this astounding melodrama vaguely inspired to the relationship of director Paweł Pawlikowski’s own parents.
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After Jacek (Mateusz Kosciukiewicz), is disfigured in an accident on the construction site of a jumbo-sized Christ statue, he is punished for having a new face against his will.
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Jagoda Szelc’s debut ‘Tower. A Bright Day’ was a sensation at the most recent edition of the Gdynia Film Festival, also by reason of its a vaguely zombiesque and Bunuel-tainted finale on a silent hill.
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Family is the most important motif in Silent Night, Piotr Domalewski’s debut feature film which brings Christmas Eve dinner to the big screen in a way moviegoers would have never expected
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Photon, by artist Łukasz Banach (a.k.a. Norman Leto), is a cinematic piece of lucid madness aimed at describing the origin of the phenomenon of life.
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‘Loving Vincent’, about Van Gogh’s tragic life and death, is certainly one of the most lavish animated films ever produced on the Old Continent.
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Bloodthirsty mermaid sisters, Warsaw in the 80s, sequins, and song – What’s not to like about 2015’s Polish cult horror music The Lure (Corki Dancingu)?
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Agnieszka Holland has won the heart of the moviegoers with the environmental thriller ‘Spoor’ (‘Pokot’), based on a novel by Olga Tokarczuk
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Reviews of Wolyn (Hatred), Smoleńsk, and Ostatnia Rodzina (The Last Family), some of the most popular Polish films of late 2016.
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The epochal shift to Czech capitalism is a merely decorative background to a story that turns into a big-screen penny dreadful in Kollár’s The Red Captain
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