giovedì 4 settembre 2014

Róza - Wojciech Smarzowski

un gran film, che dimostra una volta di più il grande talento di Wojciech Smarzowski e la salute del cinema polacco.
la storia è terribile, ha qualche punto di contatto con Adelheid, stesso periodo storico, con la caccia alle minoranze indifese, e in entrambe i casi alle donne, le più indifese dei deboli, ma fortissime, per sopravvivere.
Róza è Agata Kulesza, che interpreta Wanda in Ida.
un film da non perdere, promesso - Ismaele

QUI il film completo, con sottotitoli in spagnolo

I have a great admiration for Wojciech Smarzowski's work. “Rose”, his new feature film, is even murkier than “Dark House”(2009). Not so dynamic or appealing as this last one, though very compelling. With a brutal story inspired from historical facts, we can understand how the Masurian people started disappearing along the time until become completely extinct. Bleak, with strong content, this is another movie to take into account in the very solid career of a remarkable director. 

Wojciech Smarzowski's Rose is at times so brutal that its more tender touches can startle. The 2011 film opens with Tadeusz (Marcin Dorociński) lying wounded in the ruins of World War II Warsaw, watching helplessly as the woman we guess to be his wife is raped and murdered. By the movie's end there are multiple rape scenes, in present time and in flashbacks.
But Rose is, above all, a love story. Tadeusz, now a widower, arrives in a Masurian village to tell a strange woman, Rose (Agata Kulesza), that she's also been widowed. With restrained silence, she receives a mangled photograph of her husband as proof of his death. The year is 1945, the war's end, and Poland has been plundered and burned, its fields so littered with mines that they can't be plowed. Like the landscape, Rose and Tadeusz bear deep emotional scars: he's a former Home Army soldier, a persona non grata after the communists rather than the exiled government in London take power; she's a Masur, a group of people who, as the opening caption explains, are culturally distinct but had once been subjugated by the Germans, only to find themselves at the mercy of Poles following the war. Rose mistrusts Tadeusz at first, as she does all the others. And if their romance seems somewhat inevitable, it's saved by Smarzowski's lavishing more attention on the portrait of a woman who must survive, come what may, rather than on amorous advances…

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