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3/5
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Każdy ma swoje lato
(2020)
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Giuseppe Sedia
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[Jurkiewicz] does not shy away from sensitively portraying the town’s more deteriorated facets. Everyone Has a Summer stands as one of the most compelling portrayals of provincial Poland to grace the big screen in recent years.
Posted Jan 02, 2026
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4/5
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Minghun
(2024)
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Giuseppe Sedia
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[The movie] draws a stark contrast between Western portrayals of grief and Eastern traditions [...] Matuszyński brings a piece of China to the Baltic Sea in the film’s poetic finale, which evokes both destruction and transcendence.
Posted Dec 19, 2025
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3/5
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Life for Beginners
(2025)
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Giuseppe Sedia
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Podolski brings together in Life for Beginners a vibrant ensemble of relatively unknown young and senior actors in a sharply written film, produced on a shoestring budget with, both literally and metaphorically, a few drops of fake blood
Posted Nov 15, 2025
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3/5
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Where Do We Begin
(2024)
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Giuseppe Sedia
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[The film] is affecting and manages to tug at the viewers’ heartstrings without resorting to tear-jerking (...) regrettable that its Polish title which translates into English as “There Will Be No Other End” was not retained for the international release
Posted Oct 01, 2025
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3/5
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Loss of Balance
(2024)
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Giuseppe Sedia
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(...) a cost-affordable film set in the milieu of a fictitious drama school in Warsaw. Bojanowski’s film is also a coming of age, and on stage, story about young actors who will have to struggle to stay active in this sector after becoming professional.
Posted Sep 23, 2025
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3/5
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Anxiety
(2023)
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Giuseppe Sedia
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The topic of assisted suicide [...] is a novelty in Polish cinema. Fabicki tackled it tactfully and in a restrained manner. The stay at the clinic never gets melodramatic and the sisters’ faces are blurred after Małgorzata drinks the lethal dose.
Posted Jan 31, 2025
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3/5
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Wrooklyn Zoo
(2024)
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Giuseppe Sedia
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As a filmic tale of cultural intolerance, Wrooklyn Zoo could easily be adapted for the stage. And yet, it shines as a breakneck valentine to Wrocław brimmed with outdoor shots framing many of the city’s landmarks
Posted Jan 31, 2025
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3/5
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The Polish Dancer
(1917)
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Giuseppe Sedia
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The Polish Dancer is the only film with Negri to date from the “Polish period” that has been preserved in its entirety. Visually speaking [and] does not allow point-blank observation of Negri as a diamond in the rough.
Posted Jan 31, 2025
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3/5
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It Came from the Water
(2022)
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Giuseppe Sedia
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It Came from the Water has potentially everything to become a nonchalant cinematic manifesto for the Generation Z high school students that had to spend the best days of their youth in self-isolation.
Posted Jan 31, 2025
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3/5
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Justice
(2024)
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Giuseppe Sedia
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As a cinematic ode to the Nineties in Poland, this well-packed thriller must be certainly appealing also to the streaming generations that did not live those days. It would hold its own even in a movie theatre.
Posted Jan 21, 2025
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4/5
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Under the Volcano
(2024)
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Giuseppe Sedia
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Just like Ruben Östlund’s films, Kocur’s drama is infused with a lull-before-the-storm feeling that pervades the interaction between the characters, both before and after the news of the military attack
Posted Jan 21, 2025
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4/5
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Next to Nothing
(2023)
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Giuseppe Sedia
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The movie holds together very well thanks to Paczesny’s stupendous performance as Jarek, an upstanding and surly, almost Eastwood-esque, “rural detective” who is determined to find the truth at any cost.
Posted Jan 21, 2025
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3/5
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Woman Of
(2023)
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Giuseppe Sedia
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Szumowska’s and Englert’s film deals with transitions in the broad sense including but not limited to the protagonist’s gender change struggles [They] deserve kudos for having assembled an abundant cast to portray a few round characters at different ages
Posted Jan 21, 2025
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4/5
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Scarborn
(2023)
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Giuseppe Sedia
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Maślona’s engrossing and Tarantino-esque tale of revenge and emancipation features more slashes than gunshot The candle-lit card game sequence, in which the main characters gamble away their weapons, is worth alone the price of admission
Posted Jan 21, 2025
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1/5
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The Palace
(2023)
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Giuseppe Sedia
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As a satire of the shallow society and vulgarians sheltered behind a luxury resort, Polański’s moving picture lacks bite and gets only a few laughs despite the sudden appearance of a penguin in the hotel.
Posted Jan 21, 2025
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4/5
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Imago
(2023)
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Giuseppe Sedia
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Enriched with Tomasz Naumiuk’s atmospheric cinematography, Imago is a vodka-fueled trainspotting-esque and hard-hitting cinematic ode to alternative culture in Poland when the toppling of Communism was just around the corner
Posted Jan 21, 2025
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3/5
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The Peasants
(2023)
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Giuseppe Sedia
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The splending layer of animated oil painting gives luster to this soap opera-esque animated feature film. The Peasants resembles a big turbo-slavic cinematic marshmallow that could turn up the nose of Reymont specialists and ethnographers.
Posted Jan 21, 2025
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3/5
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Doppelganger. The Double
(2023)
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Giuseppe Sedia
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As a spy movie Doppelgänger. The Double displays a remarkable historical accuracy [The film] is a topflight euro spy thriller that deserves to be in the same tier of Henckel von Donnersmarck’s The Lives of Others (2006).
Posted Jan 21, 2025
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5/5
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Green Border
(2023)
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Giuseppe Sedia
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Holland manages at the same time to pay tribute to the recent efforts of Polish population, border guards included, aimed at helping the Ukrainians since February 2022, as well as to denounce Poland’s and EU’s double standards for refugees
Posted Jan 21, 2025
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2/5
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Hidden Network
(2023)
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Giuseppe Sedia
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Szamałek’s story is indeed full of cutting remarks about tabloid journalism for its intrusiveness and lack of ethics Koleśnik’s tremendous performance adds zest to Adamski’s Polish take on Nordic noir film and thus preventing it from sinking into oblivion
Posted Jan 21, 2025
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3/5
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Hospital of the Transfiguration
(1979)
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Giuseppe Sedia
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Partially filmed on the grounds of Tworkowski psychiatric near Warsaw, Hospital of the Transfiguration is a sombre but convincing piece of cinema in which there is no room for Schindler-like WWII rescuers to keep the tragedy at bay.
Posted Jan 21, 2025
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4/5
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The Balcony Movie
(2021)
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Giuseppe Sedia
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[Łoziński Jr.] never seems to look down on his subjects despite being physically above them. No matter what is discussed, the films functions magnificently as a cordial, devoid of embellishments, open air confessional, that entertains the viewer
Posted Jan 21, 2025
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3/5
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Dangerous Gentlemen
(2022)
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Giuseppe Sedia
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[The film] boasts a fanciful gallery of highly coloured characters caught playing cops-and-robbers when the Polish Highlands was under Austrian rule at the end of 19th century Kawalski also offers a nonchalant tribute to Zakopane in its old good days
Posted Jan 21, 2025
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3/5
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Filip
(2022)
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Giuseppe Sedia
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Kwieciński’s film breathes new life into Polish cinema The [main] character seems to suggest that every man for himself is the only option left in difficult times. Filip the “humiliator” is all but a military martyr ready to sacrifice all for his country.
Posted Jan 21, 2025
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3/5
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Bread and Salt
(2022)
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Giuseppe Sedia
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[The director] juggles with directorial confidence the personal need to denounce the issue of intolerance in provincial Poland and delicate remembrance of his boyhood Chopin’s compositions, offer an interesting counterpoint the] summertime slice of life
Posted Jan 21, 2025
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3/5
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Woman on the Roof
(2022)
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Giuseppe Sedia
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Even if Krzysztof Krauze’s Dług (The Debt, 1999) still remains the quintessential Polish drama on the topic of debt traps, Woman on the Roof finds it trump card in Pomykała’s outstanding delivery in the role of a lifetime
Posted Jan 21, 2025
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3/5
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The Silent Twins
(2022)
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Giuseppe Sedia
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[The film] is a stylistically lopsided but concise piece of cinema that marks a more-than-welcome return to the witty camp of [Smoczyńska’s] debut feature As a cinematically fresh plastic flower bouquet [it] has something to say to every type of audience
Posted Jan 21, 2025
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4/5
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Elephant
(2022)
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Giuseppe Sedia
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It is difficult to believe that [Krawczycki] did not watch Dolan’s Tom at the Farm that recounts a homosexual romance blossoming amongst the hay and standard chores required at the countryside. [His] film, however, is less crude than Dolan’s melodrama,
Posted Jan 21, 2025
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3/5
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EO
(2022)
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Giuseppe Sedia
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Skolimowski’s Cannes Jury Prize winner is an outlandish tale with an unhappy ending packed with a surrealist twist that does not water down the Polish director’s cri de coeur on behalf of mistreated animals
Posted Jan 21, 2025
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4/5
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Silent Land
(2021)
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Giuseppe Sedia
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The glacial chemistry between Dymecki and Żulewska works beautifully on the big screen, The two tourists are presented as a cosmopolitan couple but the Polish filmmaker willingly let some traits of ‘Polishness’ surface here and there in the script.
Posted Jan 21, 2025
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2/5
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Fools
(2022)
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Giuseppe Sedia
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Once again, Wasilewski intentionally floors the audience with an overtly aesthetical drama in defiance of the sumptuary laws usually attributable to the genre This time, however, the director seems to have gone to the extremes to try the viewers’ patience
Posted Jan 21, 2025
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3/5
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Fucking Bornholm
(2022)
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Giuseppe Sedia
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[The film] delivers a ironic commentary on the concept of hygge, the Danish way to cosiness and togetherness, that a lot of people have heard about abroad, but only few master. The characters find themselves constantly trapped in uncomfortable situation
Posted Jan 21, 2025
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3/5
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Songs About Love
(2021)
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Giuseppe Sedia
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Ironically, despite having a storyline heavily centered on home recording sessions, Songs About Love ends up singing the praises of live music in years of dictated or self-imposed social isolation for many.
Posted Jan 21, 2025
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3/5
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The Wedding Day
(2021)
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Giuseppe Sedia
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["The Pieter Bruegel of Polish cinema"] invited to banquet on the big screen the same old sampler of vulgarians, bribable clerics and small town grandstanders [to offer] once more a caricatural but clear-cut depiction of provincial Poland
Posted Jan 21, 2025
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4/5
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Hometown
(2021)
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Giuseppe Sedia
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Polański and Horowitz are Krakow-born émigrés who gained recognition as artists outside Poland Hometown is arguably a brilliant “documentary buddy film” about two wonderful octogenarians holding on to their life while cultivating the power of remembrance.
Posted Jan 21, 2025
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4/5
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The Hater
(2020)
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Giuseppe Sedia
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The Hater is a spin-off of Komasa’s first feature film, Sala Samobójców (Suicide Room), which was a sensation back in 2011. Komasa deserves kudos for showing the process of polarization at work in Polish society, with all that the mayhem this could entail
Posted Jan 21, 2025
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3/5
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Psy 3. W imię zasad
(2020)
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Giuseppe Sedia
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Nothing has changed for Franz, since he is still the same old same samurai left without a master after the collapse of communism He exude(s) every single inch of the ill-fated existentialism the viewer should expect from a Pasikowski’s crime thriller
Posted Jan 21, 2025
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4/5
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Corpus Christi
(2019)
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Giuseppe Sedia
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Bielenia's interpretation perfectly conveys the spontaneity and non-judgmental approach that many believers would expect from the Church. Once again after Suicide Room (2011) and Warsaw 44 (2014), Komasa has made the best out of young and loud characters
Posted Jan 21, 2025
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3/5
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Dolce fine giornata
(2019)
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Giuseppe Sedia
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[...] the storyline is not always plausible. Nonetheless, Dolce Fine Giornata is a solid and boredom-proof one-hander which would lose most of its sheen without Janda’s presence.
Posted Jan 21, 2025
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2/5
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Dark, Almost Night
(2019)
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Giuseppe Sedia
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Despite its intricate plot, Lankosz’s most recent film is too superficial to offer a convincing reflection on the mechanisms of evil. It is [...] not unreasonable to expect more than a novelistic and shallow effort from a skilled director.
Posted Jan 21, 2025
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3/5
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Monument
(2018)
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Giuseppe Sedia
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Overall, Szelc does not give up the idea of marking her territory as a cinematic auteur in Monument. Wieclawek’s feverish acting in the finale brings to mind Ryszard Cieslak’s legendary theatrical performances in The Constant Prince back in the Sixties
Posted Jan 21, 2025
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3/5
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Fugue
(2018)
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Giuseppe Sedia
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More a drama than a thriller, despite the nocturnal peregrinations of the protagonist, Smoczyńska’s sophomore film is a poignant take on the process of learning anew how to experience beauty and emotions in a rootless present.
Posted Jan 21, 2025
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3/5
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Clergy
(2018)
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Giuseppe Sedia
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The movie’s most striking feature is certainly not the unmerciful and grotesque sense of humour – his stylistic trademark – but rather the spine-chilling testimonies from the victims of clergy sexual abuse that burst unexpectedly into the fiction.
Posted Jan 21, 2025
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5/5
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Cold War
(2018)
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Giuseppe Sedia
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Less hieratic than Ida, Cold War has a lot to offer to the audience Maybe Pawlikowski would have not won Best Director Award at Cannes if it wasn’t for the sumptuous acting displayed in this cruel, jazz-drenched and Mizoguchi-esque tale of two lovers
Posted Jan 21, 2025
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3/5
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Mug
(2018)
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Giuseppe Sedia
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Szumowska here has made a clever use of music in a film that is reminiscent of Paolo Sorrentino’s earlier eccentric pieces. In the end the whole thing fits together in Mug as long as viewers do not judge the movie through the prism of realism.
Posted Jan 21, 2025
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4/5
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Tower. A Bright Day.
(2018)
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Giuseppe Sedia
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Tower. A Bright Day was a sensation [...] also by reason of its a vaguely zombiesque and Bunuel-tainted finale on a silent. Szelc’s casual approach to genre conventions in her metaphysics-injected debut film is all but a youthful indiscretion.
Posted Jan 21, 2025
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4/5
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Silent Night
(2017)
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Giuseppe Sedia
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The director felicitously shows how fragile family bonds can be [...] Silent Night is a heart-warming Christmas’ stunner that could leave a tiny knot in the viewer’s stomach at any moment of the year.
Posted Jan 21, 2025
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2/5
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Loving Vincent
(2017)
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Giuseppe Sedia
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In their concern to keep the viewers interested, [the directors] have built an over-narrated and spirit-dampening movie in which the preponderance of the dialogues hinders the viewers’ immersion into the violent beauty and materiality of Van Gogh’s oeuvre
Posted Jan 21, 2025
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4/5
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The Lure
(2015)
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Giuseppe Sedia
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The Lure stands also as a cinematic act of love towards Poland’s capital city in the 1980s with its sparkling neon signs, lighthearted nightlife, and ability to knock back gallons of vodka in its best days.
Posted Jan 21, 2025
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4/5
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Spoor
(2017)
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Giuseppe Sedia
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Spoor is all but a green pamphlet on the big screen. Enriched with some majestic close-ups of wild animals caught in their natural habitat and framed à la Parajanov, [The film] is a sturdy environmental thriller film drenched in a very Czech black humour
Posted Jan 21, 2025
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