This is rare, nuanced storytelling, anchored by one of Brad Pitt’s career-best performances and remarkable technical elements on every level. It’s a special film.
Michał Oleszczyk is a film critic and scholar based in Poland. In 2012, he has been named the Critic of the Year by the Polish Film Institute.
His work has appeared in numerous Polish outlets, as well as on American websites such as “Fandor”, “The House Next Door” and “Hammer to Nail."
Oleszczyk wrote the first Polish book on the films of Terence Davies and has published a translation of J. Hoberman and Jonathan Rosenbaum’s “Midnight Movies." After having defended a Ph.D. thesis on the work of Pauline Kael, he has taught film at Polish universities, as well as worked as a programmer for Off Plus Camera International Film Festival.
There’s a fierce, pagan-like energy to this movie, and a fantastic precision to this young woman’s writing/directing talent.
The only feature film Borowczyk made in his native country proves to be an underappreciated masterpiece that merits rediscovery and celebration.
Jan P. Matuszyński’s debut feature, which can be seen this week as a part of the New Directors/New Films festival, is the finest movie to come from Poland in the last 25 years.
In light of Polish director Andrzej Wajda's recent passing, an alphabetical list of his ten best films.
A report on the environment at Cannes and the art of queuing.
A Cannes report on the newest from Corneliu Porumboiu.
A review of Paolo Sorrentino's latest from Cannes.
A report on the new film by José Luis Rugeles.
A report on the premiere of the latest from Pixar at Cannes 2015.