14 czerwca 2010
Ubiegłoroczny zdobywca gdyńskich “Złoytych Lwów", film Borysa Lankosza "Rewers" , otrzymał Grand Jury Prize dla Nowego Reżysera na zakończonym w minioną niedzielę Międzynarodowym Festiwalu Filmowym w Seattle (SIFF New Directors Showcase).
Film Borysa Lankosza, mimo iż w oscarowej rywalizacji otarł się jedynie o "eliminacje", nadal jest obrazem, który na świecie nie przestaje intrygować. Dowodem tego jest chociażby ostatni laur dla tego wysmakowanego stylistycznie dzieła, czyli Nagroda dla Nowego Reżysera prestiżowego festiwalu w Seattle.
Nagrodę tę Jury festiwalu argumentowało: "Rewers" Borysa Lankosza z sukcesem wypełnił ambitny cel opowiedzenia historii miłości, rodziny i lojalności w brutalnej, powojennej Warszawie. W wyjątkowy sposób, w swoim pierwszym filmie udaje się reżyserowi przekazać bardzo wystylizowaną wizję, bez poświęcenia charakteru, opowieści lub wykonania. Jesteśmy szczęśliwi i jest dla nas zaszczytem przekazać New Director Award temu poruszającemu, przejmującemu i głęboko humanitarnemu filmowi.
"Rewers" to czarno-biała historia z życia trzech kobiet, z których każda reprezentuje inne pokolenie. Wszystko rozgrywa się w latach pięćdziesiątych, w gorzko komediowej atmosferze, gdzie kino obyczajowe, komediowe miesza się ze stylem noire. Świat pokazany przez Lankosza raz jest groźny i przytłaczająca, raz odrealniony i tajemniczy. Całość ilustruje natomiast wysmakowana aranżacja znakomitego muzyka i kompozytora Włodka Pawlika, który za muzykę do filmu odebrał nagrodę zarówno w Gdyni, jak i Orła, Polską Nagrodę Filmową. Wreszcie rewelacyjne kreacje aktorskie stworzyły na ekranie Agata Buzek 34. Festiwal Polskich Filmów Fabularnych - nagroda za pierwszoplanową rolę kobiecą, Nagroda im. Zbyszka Cybulskiego - Nagroda Publiczności, Ogólnopolski Festiwal Sztuki Filmowej "Prowincjonalia" - Nagroda aktorska, Orzeł, Polska Nagroda Filmowa w kategorii: najlepsza główna rola kobieca), Krystyna Janda oraz Anna Polony (Orzeł, Polska Nagroda Filmowa w kategorii: najlepsza drugoplanowa rola kobieca). Równie kunsztownie trzem paniom partnerował Marcin Dorociński w roli diabolicznego Bronisława (34. Festiwal Polskich Filmów Fabularnych - nagroda za drugoplanową rolę męską).
Film Borysa Lankosza, według scenariusza Andrzeja Barta od swojej premiery obejrzało kinach juz 405 tysięcy widzów. "Rewers" jest pierwszym, wyprodukowanym po reaktywacji, filmem Studia Filmowego Kadr. Dziś studio to, jako jeden ze swoich nadrzędnych celów stawia na promocję młodych twórców. Już teraz w powstaje w nim "Sala samobójców" Jana Komasy a wkrótce ma rozpocząć się też produkcja "Jesteś Bogiem" Leszka Dawida.
[Artur Cichmiński]
http://www.stopklatka.pl/wydarzenia/wyd ... p?wi=66551
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Polish Film's Amoral New Wave
By DAN BILEFSKY
Published: June 14, 2010
WARSAW — It took 60 years for Poles to be able to laugh about Stalin, muses Borys Lankosz, the 37-year-old director of “Reverse,” a darkly satirical comedy that has critics giddy with anticipation that a new wave of young directors is finally shaking up the sometimes staid and moralistic universe of Polish cinema.
The film — a cult hit in Poland since it was released late last year — was that country’s entry this year for best foreign language film at the Academy Awards. Mr. Lankosz is in discussions to release and distribute it in the United States and the film is set to screen soon in Russia.
Alternating between past (filmed in spare black and white) and present (in color), “Reverse” (Rewers) tells the story of Sabina, a 30-something bookish and timid poetry editor (played by the waifish Polish actress Agata Buzek), who lives in a claustrophobic bourgeois apartment with her meddling mother, Irena (Krystyna Janda), and grandmother (played by Anna Polony) during the repressive Stalin era in 1952.
Irena is determined to shield the unmarried Sabina from perpetual spinsterhood, and furiously entices disastrous potential suitors to the apartment, where she bakes them sweet desserts, only for Sabina to reject them. For Sabina is too distracted by a secret: a gold 19th-century American Liberty dollar that she is illegally hoarding by repeatedly swallowing and excreting it.
Paradoxically, Polish cinema has been undergoing an existential crisis since 1989, when Communist rule was overthrown and new freedoms — and a dearth of funding — seemed to stymie directors from finding their own voices. But critics here consider “Reverse” part of a new wave in Polish cinema, in which the blithe morality tales of the past are giving way to stark, sometimes amoral films that breach conventional notions of love, family and tradition with reckless abandon.
Some see in this and other dark and innovative films a rebirth of the Polish Film School, a group of film directors who, from the mid-1950s to early ’60s, were among the first in Eastern Europe to revolt against the idealization of the socialist system mandated by the Communist authorities.
“We have begun to perceive reality, that we are all made up of good and evil, and that nobody is predetermined to become good or bad,” said Jacek Rakowiecki, the editor in chief of the Warsaw-based magazine Film, in an interview. “This is the success of the last two to three years in Polish cinema.”
Two other recent films deal with teenage prostitution and examine moral decadence in this conservative, abidingly Catholic nation. “Piggies” (Swinki), by the acclaimed director Robert Glinski, is about Polish boys working as prostitutes across the border in Germany, while Katarzyna Roslaniec’s “Mall Girls” (Galerianki) tells the story of young teenage girls who sell their bodies in return for designer jeans and Nokia cellphones. A third film, Jan Kidawa-Blonski’s “Little Rose” (Rozyczka), which opened in Polish theaters in March, features a disloyal wife who, after marrying the love-struck history professor she has been spying on for the state, carries on an affair with the secret police agent who set her up as an informant.
In the case of “Reverse,” conventional notions of morality are turned on their head.
Sabina’s family life takes a sinister and unexpected turn when she finally succumbs to love after meeting the mysterious Bronislaw, a Humphrey Bogart look-alike (Marcin Dorocinski) who quickly seduces Sabina along with her doting female relatives. Bronislaw turns out to be a member of the secret police, and when he threatens to expose Sabina about her gold coin unless she spies on her superiors at work, she poisons him and dissolves his body — with the help of her mother and grandmother — in a chemical-filled bathtub.
“I’m going to die soon anyway,” her grandmother counsels, deadpan. “Put his bones in my coffin.” The meek and mousey Sabina, who discovers she is pregnant with Bronislaw’s child, is now both elevated and deflated, having stood up to the regime while having also committed the moral transgression of murder. This is the “reverse side of the coin” alluded to in the film’s title — a plea, Mr. Lankosz said, to remind viewers that people living under communism, even during Stalin’s reign of terror — had many faces. They laughed, drank, listened to jazz, cavorted and made love, and sometimes they even killed.
“Until recently Polish film has been very serious and pathetic, only populated by flawless heroes,” Mr. Lankosz said recently, sitting in a darkly lit Warsaw cafe calculated to look like a film set. “The reality is that Poland under communism was not divided between heroes from the underground and secret police, but by everyday people trying to live their lives under horrible circumstances.”
He said the popularity of the film reflected how the country was finally ready to confront historic demons that, until recently, it had preferred to leave dormant.
“The film awoke something in the subconscious of the nation,” he said. “It took 60 years for Poles to feel comfortable watching a film that satirizes that period, to laugh at it. We needed distance and now we can finally have catharsis.”
At the same time, the moral ambivalence of Sabina’s character was a direct assault on the Polish propensity — in both life and in film — to turn everyone into either heroes or victims, Mr. Lankosz said.
He lamented that this romanticizing of victims was once again apparent in the aftermath of the plane crash that killed President Lech Kaczynski on April 10 in western Russia. Mr. Kaczynski died as he and others in his government were on their way to Katyn forest, where more than 20,000 Polish servicemen were massacred by Stalin’s secret police during World War II. Many Poles had sought to use the accident, the director said, to transform an unpopular president, once compared to a potato, into a national martyr.
“The Polish need to turn everyone into heroes or victims because our history is so tragic and I hate this about my nation,” Mr. Lankosz said. “We need to change, this desire for Poles to be the Christs of the world.”
“Sabina,” he added, “doesn’t want to be a victim and this is why I think she and the film touched something in people.”
Still, for all of the new realism of Polish cinema, even “Reverse” succumbs to the very contemporary need, in this age of insecurity, for myths and heroes, both in Poland and beyond.
Toward the end of the film, we see a somewhat overly mannered Sabina, now all white-haired and hunched, lighting a candle at Warsaw’s grotesquely monumental Palace of Culture, built by Stalin, where she had buried Bronislaw’s remains more than fifty years before. Her gay son — the progeny of the affair — is visiting from New York and Sabina repeats the lie she has been telling for years, that Bronislaw was a resistance hero. “Even Sabina, who so defied conventions,” Mr. Lankosz explains, “doesn’t want her son to know the truth.”
Michal Piotrowski contributed reporting.
http://www.nytimes.com/2010/06/15/arts/ ... gewanted=1
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Pani Krystyno, bardzo serdecznie gratuluję kolejnej nagrody dla Rewersu!
Ja sama zawsze z ochotą do niego wracam.Serdecznie pozdrawiam, dobrego tygodnia życzę. Wracam do mojej historii teatru polskiego, jutro egzamin...
Julita
PS. Aha... Pani Krysiu, ja to już się sama zastanawiam, bo Pani mi się dziś znów śniła... I najgorsze, że żaden sennik nie podaje jak interpretować sen pt. spacer po Warszawie z Krystyną Jandą...
No ładne rzeczy... to pewnie tak przed tym egzaminem
Raz jeszcze pozdrawiam
