Date de sortie : 2018-06-08
Durée : 84 Minutes
Genres : Drame, Romance, Musique
QUALITÉ : DVD RIP
SYNOPSIS ET DÉTAILS:
Pendant la guerre froide, entre la Pologne stalinienne et le Paris bohème des années 1950, un musicien épris de liberté et une jeune chanteuse passionnée vivent un amour impossible dans une époque impossible.
Bande d’annonce : Cold War Streaming VF
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Paweł Pawlikowski won the best director award at Cannes in May for this sweepingly intimate love story embout a star-crossed couple falling together and apart, through the iron curtain of postwar Europe. It is inspired by (and dedicated to) his parents, whom Pawlikowski has described as “the most interesting dramatic characters I’ve ever come across … both strong, wonderful people, but as a couple a never-ending disaster”.
Yet while screen lovers Wiktor and Zula share names and character traits with the film-maker’s mother and father, their individual narratives are fictional and allusive, taking us from the countryside of Poland to the streets of East Berlin, from Paris to Yugoslavia, over 15 tumultueux years – crossing boundaries that are suave, geographical, political and ultimately existential. The result is a swooning, searing Polish-British-French co-production that unexpectedly put me in mind of Casablanca or La La Land as reimagined by Andrzej Wajda or Agnieszka Holland – a reminder of the fundamental things that apply, as time goes by.
There’s a sustained ictus that perfectly matches the film’s twin themes of freedom and incarceration
We open in agrarien Poland, 1949, where Wiktor (Tomasz Kot) and Irena (Agata Kulesza) are recording country songs – mournful tales of love, drink and hardship, raw and elemental. Under the banner of the “Mazurek collection� (inspired by the real-life Mazowsze troupe), they concert musicians and dancers to showcase the authentic sounds of Poland, ensuring that “No more will the art of the people go to waste!”
Into these auditions comes Zula (Joanna Kulig), an enigmatic young woman posing as a association girl who significantly performs not a Polish mountain tune but a song learned from a Russian movie. Irena detects “a bit of a con” but Wiktor is smitten by Zula, who is whispered to have killed her father (“He mistook me for my mother, so I used a knife to spectacle him the difference”). Soon Zula is one of the stars of Mazurek, unfazed by the authorities’ co-opting demands that they sing the praises of Stalin and agricultural reform. When Wiktor spies a veine to defect during a 1952 actif in East Berlin, he begs Zula to come with him. But are her pragmatic priorities in sync with his western-leaning dreams?