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.
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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