Despite bearing all the hallmarks of a drudging arthouse indulgence, Pawel Pawlikowski's beautifully composed, Academy framed, black and white Ida ends up surprising with its simplicity. Interestingly, for a film that exists more an exercise in cinematic formalism than anything nearing a fully rounded narrative, Ida is remarkably approachable. Actually, it succeeds mainly because of its complete lack of pretence, at least to a point.
There is a wealth of rich thematic material swirling around in Ida. Having his young protagonist, Wanda, wrestle her faith and the complexities of post-Holocaust guilt and a jazz-fuelled romance definitely intrigues. As does the trajectory of the jaded, Communist-lapdog judge, who spirals downward after her niece's search exhumes a tragedy she'd very consciously suppressed. But Pawlikowski isn't interested in diving deeply into the drama of the situation, or its broad moral ramifications.
For him, the reflective image of the film's surface is inherently meaningful.
To watch Ida is to flick through a gorgeously framed series of photographs. Complex emotions play out visually or not at all. The effect is as sobering as it is distancing. Agata Trzebuchowska's lead performance is pristine but too withdrawn to draw empathy. The same can be said for Agata Kulesza as her aunt; she is the most lively thing onscreen but is simply not supported by Pawlikowski's narrative stoicism.
Yet, strangely, lack of emotional connection here seems fitting. It is as if Pawlikowski wants his audience to be set apart from his film and to pour over it inch by inch. His camera stares at the world, ever hoping to understand. To be a part of this observation, to be forced to view this broken world through an unapologetically aesthetic lens is mesmerising, and at times even comforting. Pawlikowski's triumph is to find beauty in the harrowing sadness, and by capturing that beauty to somehow neuter the devastation of its impact. In this way, sadness, love and guilt are transformed into intricate curiosities.
For those with a spiritual bent, Ida may well offer a more transcendental experience. There is space in Pawlikowski's film that will doubtless resonate with those open to religious self-examination. For me, not bringing that baggage to the experience meant I was left alone to worship at the alter of art.
Ida proves there's a lot to be thankful for.
★★★☆
Trailer:
No comments:
Post a Comment