Paweł Pawlikowski, director of the prominent and destac able Ida oscar for the best film from non-English speaking of 2015, has released this year in Chilean cinema his new proposal, called in English Cold War (coldwar). Expectations, are undoubtedly high. Ida showed his mastery in handling the contrast between elegant – beautifully framed pictures, expressive contrasts between light and shadow – film surface and the interior of its protagonists whirlwind.
Cold War Although it retains and even increases the level of the invoice, stumbles into this second aspect. His characters we appear childish, predictable in its arbitrariness, determined by their gender roles and by his time to a point at which we become distant and invisible. Mere puppets on a visual stage, which is where Pawlikowski seems to be more at ease and showing cash in its deep traditionalism.
Cold War
is, ultimately, a story of love to the Rayuela of Julio Cortázar, but located in the decades after the second World War: an incendiary passion that extends over years and years and burns everything He touches, generating agreements and disagreements in the search for an impossible love affair. In the meantime lovers, Zula and Wiktor, cross several times the iron curtain that divided Europe. It appears the best film in this contrast between two worlds. Pawlikowski manages very well imagine the type of tension that existed within the Soviet regime and unbridled fantasy that could mean for their victims the passage to the great capitals of the West. The day that Zula and Wiktor had agreed to escape together, crossing the Berlin border crossing – before the construction of the wall — she does not attend the appointment and Wiktor decides to cross only. That error, which triggers the plot of the film, is one that she will never end you forgive and which he will regret many times.
When they meet in Paris, years later again, both have changed. Zula is an artist recognized in the Soviet Union for its elaborate customs shows; Wiktor, on the other hand, is an established musician of jazz of the Parisian scene. They resume the romance, but something is wrong, something does not fit you. The couple lives tacitly besieged by pressure, finally having the opportunity to carry out something dreamed for so much time. However, due to a couple of twists in the plot, the tension that had begun to be built among them suddenly dissipates before that they are bound to know seriously, to negotiate and to live together. The story begins to stretch the patience of his audience, because Pawlikowski misses the opportunity to insert a bit of depth in their characters, better explain its limitations. At some point it is evident that wonderful picture after wonderful picture, the film has given up trying to reveal his world. From then on, merely repeats the pattern established at the beginning. They meet and separate, gather and separate, and it becomes difficult to endure indifference.
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