However, this New Wave “recognition” was a double-edged sword in that it was precisely this outside recognition and identification that Skolimowski’s protagonists, and by implication Skolimowski himself, since he frequently featured in his own films, was trying to avoid.
Fandango FANALERT® Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. As Milos Forman’s first Academy-award nomination, Loves of a Blonde is a sharply observed depiction of ordinary yearning amid social constraints and arbitrary political decisions.
In fact, he first became known through interviews and on set-reports from the films of some of the key figures of the Nouvelle Vague in the 1960s.
Smitten, she decides to show up at his doorstep. A series of awkward, often tragi-comical exchanges ensue between the parties, which are almost rendered with a fly-on-the-wall perspective, merely observing; at other times, it takes on a compassionate eye, like an unseen friend mingling among them. The result manages to be both comical and tender.
Ostensibly, it concerns two girls whose attitude in an absurd world is to embrace destruction as the only possible stance. New Wave (French: La Nouvelle Vague) is a French art film movement which emerged in the late 1950s.
The impulse to interrogate Polish New Wave was a recent film, Piotr Uklański's "Summer Love". What is fascinating about this film is that it does this not so much through its content, which is in fact banal, but through its form, thereby transforming the seemingly accidental and meaningless experiences into a critical account of an entire society.
To encounter a film like Through and Through is to face the challenge of having to reconstruct an orderly perception out of a chaotic influx of images. Fandango helps you go back to the movies with confidence and peace of mind. In addition, to the first film of Zanussi and the work of Konwicki that are excluded by the curators for their conventional narrative form, other examples of excluded works were Roman Polanski’s short films and his first feature, Knife in the Water (Nó? ?u?awski apparently used the money to acquire great works of literature; needless to say the world of ?u?awski’s cinema and new Hollywood are several universes apart!). Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area.
Illumination, seen in a New Wave context, is most remarkable for its fusion of documentary and fictional techniques in which the everyday life of aspiring scientists is presented both through the narrative of the conflict between the main character’s desires to understand the world scientifically and his ever-increasing responsibilities to his wife and child. Of course this raises questions of inclusion and exclusion: what are the criteria for deciding what belongs to the retrospective construction of the Polish New Wave? The final screening was composed of three films that have to be separated into two totally distinct aesthetic projects: that of creative documentary and the generic superhero pastiche of Andrzej Kondratiuk’s The Hydro-Riddle (Hydrogazadka, 1970).
As will be evident from this review, the films that constituted the Polish New Wave event showed a remarkable diversity and presented a variety of innovative approaches to film form, each with different implications and ways of addressing the viewer. The preliminary answer given by the curators to this question is that it refers to a cinema that “examines and experiments with its own cinematic form.”(Ronduda, 4.) From a formal point of view elements such as the use of available light, cinematically inventive shots, elliptical narrative and the documentary-like focus on the younger generation clearly resemble the French New Wave, perhaps more so than the films being made at the same time in Czechoslovakia. Thus Królikiewicz attempted in his films not to create this order for the spectators, but to present them with chaotic fleeting perceptions that are nevertheless organised in such a way as to be susceptible to this perceptual ordering process on the part of the viewer. Given ?u?awski’s denunciations of the Polish Cinema of Moral Concern as a coup d’etat against cinema that was more a type of radiophony,(?u?awski paraphrased from Ronduda, 40.) In contrast to the FrenchNew Wave and the closer example – both geographically and politically – of the Czech New Wave, the Polish New Wave was never able to have a continuous, stable development but was rather evident in a number of individual cinematic projects occurring over an extended period of time, the contours, definition and limits of which are still subject to debate.
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