it is adequately infinite..
Pawlikowski’s writhing response to politically and personally challenged era lops your thinking and puts an honest mirror in front of the screen whose parallel world is equally soothing to encounter as it is inedible to swallow. Despite of being fueled by pathos ideology, it is adequately infinite. The general subjective method is bizarrely genius and jaggedly on mark, that it gives you an abyss feeling which is cathartic to the core. Your nerves pops out with some beautifully shot bright scenes; jaw dropping cinematography, that even though, is black and white, it is immensely appealing.
The structure of the script is weaved out to keep you enmeshed in its poetic world, addition to that, it rhymes. Pawlikowski’s passion for music is the soul reason how he fills in those tiny gaps between sequences and somehow it grows out to become its core strength. To cohere such a wide concept within two characters, is an example of fine writing skill. Ticking for only 90 minutes, Pawlikowski sufficiently pours out his intentions on each frame. If the initial stage is general and contains the dirty politics and answers some challenging questions, the latter one is so personal that you can practically sense those characters around you.
It is a pleasure to watch three dimensional characters come out of the screen, as a character quips once in the movie, “..love is timeless..” Pawlikowski proves his passion for storytelling on a much larger scale than ever. Ranking each other, as the story develops, the characters are purely humane and for the sake of the explanation, the makers keep them unfiltered; their rawness is what attracts us. Kot has a reserved act to follow, troubled but mellow. His character needs to speak through eyes, his underdog character has to be calculated by himself on each scene and he keeps his end of the promise. On the other hand, Kulig gets an expressive one.
It doesn’t suggest that it isn’t layered, in fact hers is much more simpler, wider and sensible; moody yet justified. Horns clashing on screen, both the actors brims their entire performance with flow that is hard to stop. It might be set on practical times, but the characters are so not pragmatic. Their superpower makes them stand alone in the crowd quite early in the movie. Their affection towards each other is impenetrable, even the conflicts weaved out by themselves fails to do so, the purity is both harrowing and mesmerizing.
This mighty old crown of genre that Pawlikowski has held on his head has actually been passed over to many a great filmmakers, but only few of them has got it right, personally, I feel it is more romantic than it is dramatic, sweep off the political distraction, the fragile poem residing in the core of this tale is waiting devastatingly to be read. The vertiginous concept that it attempts to convey in the most possibly simpler terms is what fuels this romance. Zimna Wojna is actually confected from a single pure emotion, the title won’t be suffice, neither will the storytelling be.