What a year 2013 has been! This year there were more than good films shot around the female figure. They have shown how they love, suffer, hate or enjoy; psychology is so difficult to fathom for some men; the mystery of their beauty; their madness, ambitions, desires and longings and all through a screen. They have all left a mark.
Ida joins films like Blue Jasmine, Miele, Adele, La herida, Frances Ha (filmed in 2012 and only premiered at festivals until 2013 ), and now Ida, the latestt Polish film directed by Pawel Pawlikowski. The story of this girl living in a convent in Poland in the 60s comes preceded by numerous awards and nominations at film festivals and positive reviews.
When Ida is about to make monastic vows to go from novice to nun, the mother superior sends her to visit her aunt, unique family ties she has left alive. We are in Poland and are the 60, then it was under Soviet influence after living one of the most painful periods of its history when Nazi Germany invaded the country and most of its citizens were persecuted for professing the Jewish religion, just 20 years earlier. Soon we will know that Ida is an orphan and from Jewish parents, that’s when she travels with her aunt to find where her parents are buried.
The film makes a deep (though not what it may seem) review of recent history without exaltation. The relationship between aunt and niece evolving meanwhile, though not in the traditional way, but a more interior way. Even the title of Ida in Spanish takes on a double meaning that relates to the spiritual journey that the protagonist intends to become a nun, which can no longer be then better. Do we have to know sin to make the sacrifice?
As for the formal decision to shoot the film in black and white. I always thought, and not just for this particular case, the black and white evokes closest to the subconscious feelings, not only because it represents a past time, but the sobriety of images that range from beauty to dryness with a simplicity worthy of applause (as in Ida). I think when well done as is the case, images are stuck to memory. Shadows, contrasts, empty and faces, those faces. In this regard we must highlight the excellent photography, the perfect planning of each shot (ideals for a poster) and the great work of the two leading actresses Agata Trzebuchowska and Agata Kulesza, who without fanfare transmitted seamlessly and naturally this point in their lives.
Leaving the projection, a girl of exalted volumetry vehemently criticized the film and commented to her companion that she did not understand why the size of the format… Don’t know what she meant.
And it has nothing to do, but I like how are some bars in Poland.