It touches upon themes of domestic gender politics, quietly reexamining the roles of maternity and wifedom, but as soon as it reaches the dénouement, confronting us with the root cause of this fugue, these vaguely feminist undercurrents, much like the lead character in the recurring dream sequence, get buried beneath a clichéd amnesia narrative.
Es muy estimulante ver un filme de este calibre: con mucho para construir por parte del espectador, con trabajo fotográfico y buena factura. Quizás, sea un lugar común que es una pieza escrita para la actriz, pero viendo que ella es la guionista se entiende. La dimensión total del personaje cobra tanta fuerza que lo de menos es saber qué pasó y más, cómo pasan algunas cosas...efectivamente, una buena propuesta!
Conceptually and politically acute script and acting by Muskała, but I was unconvinced by most of the formal choices of direction and cinematography. This intriguing, iconoclastic film heightens the shamefulness of the emphasis on French productions. As of today there are 14. Diversity, please! 7.5 directorial credits for women, double the norm here but still galling. What happened to MUBI?
For such an intriguing premise there are long periods when this film is curiously reluctant to be truly involving but it becomes steadily more poignant as the protagonist becomes more aware of who she was whilst simultaneously realising that she still cannot be that person.
An intriguing film about a woman who has reappeared after a long and initially unexplained absence, and who is now disconnected from her husband, child and any expectations as to what a 'good mother' should be. The deep focus cinematography often positions its lead in the centre of an expansive widescreen shot, as isolated and independent as Varda's Vagabond. A work on feminist identity (disguised as psychodrama).
Directed by Agnieszka Smoczynska (who also gave us The Lure a few years ago), this is another fascinating, complex, look at a central character (played by Gabriela Muskala, who also wrote the screenplay) struggling to stay settled in her own skin, unsure of her own mindset and not caring much about how others think she should be acting. It's a slow, impressive, thought-provoking piece of work
Love is like punk. Not dead. Gabriela Muskala burns it up in this one. I don't know why people rag on the "amnesiac" genre. Smoczyńska finds the right balance between stark reality and stylistic audio-visual flourishes that punctuate the domesticity Kinga chafes against and the loss of identity that unmoors Alicja. 3.5 stars