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Gladys Hamilton (Seattle) i was told that I can migos Ida free download, but I did not believe, especially the year 2013 New York. Michael Whitehead (Lexington) Pawel Pawlikowski Ida free download Bluray at high speed, and even in the UK, France, Poland, Denmark Cambridge.
UK, France, Poland, Denmark
IMDB rating:
Pawel Pawlikowski
Jerzy Trela as Szymon
Mariusz Jakus as Barman
Jan Wociech Poradowski as Father Andrew
Artur Janusiak as Policeman
Afrodyta Weselak as Marysia
Agata Kulesza as Wanda
Storyline: Poland, 1962. Anna, an orphan brought up by nuns in the convent, is a novice. She has to see Wanda, the only living relative, before she takes her vows. Wanda tells Anna about her Jewish roots. Both women start a journey not only to find their family's tragic story, but to see who they really are and where they belong. They question what they used to believe in.
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As Cold, Static & Depressing As Winters!
Nominated for Best Foreign Language Film at Oscars this year, Ida is an intimately crafted, patiently narrated & visually enticing tale about identity that's neither meant to nor going to work out for everyone. Its emotionally scarring content is sure to make many embrace it, but then its wintry ambiance is also capable of leaving many with a cold feeling towards it.

Set in Poland during the 1960s, Ida tells the story of its titular character who is a young novice nun planning to take her vows but is asked to visit her family before doing so. After meeting her only relative, she learns about her true heritage & embarks on a journey with her to find out about her parents, a journey that sheds light on their past & alters their future.

Directed by Paweł Pawlikowski, the most striking thing about Ida is its frame composition. The whole picture is a beautiful work of greyscale photography for each image is sharp, crisp & clear. Characters are wonderfully scripted, pacing is deliberately slow, music makes fine use of classical tracks & it benefits greatly from some strong performances, especially from the two ladies playing Ida & her aunt.

On an overall scale, Ida has a lot to admire about but I can't deny that it left me quite unmoved in the end. Its winter-like characteristics exhibit everything one usually hates about winters, things like its narration is mostly static, its cold atmosphere makes the ride even tougher, the subject matter is depressing & instead of a promise of spring, its ending is all the more heartbreaking. Still worth a shot though.
Dirty Little Secrets in Gritty Postwar Poland
Visually stunning black and white/gray and white--it's amazing to learn that this was all done digitally, not on film. A real sense of time and place comes through, as well as Communist-era party privilege.The big surprise is not who the killers were but that the young novitiate, after apparently falling in love or at least a very strong LIKE with a young and apparently sincere rock musician, merely uses him for sex because she realizes that becoming a nun requires sacrifice, and that because she is too inexperienced of the world (she's been in her convent, an orphan, all her life), the only thing she can sacrifice is him.
Talking in pictures
Pawel Pawlikowski's beautifully-shot film 'Ida' is a sparse, yet unconventionally structured, film about a young nun's discovery of a hidden past in 1960s Poland. The Poles suffered terribly in World War Two, but the relationship of the Christian majority to their Jewish neighbours was complex and far from unsullied, and post-war, there was never a public accounting in the way that took place in the aggressor state of Germany. The film addresses the aftermath of this, and does so in an appropriately complex way.

The style is familiar from Pawlikowski's other works, like 'Last Resort', and the aesthetic is powerful, even though it always seems a little like cheating to shoot a film set in the past in black-and-white (I should note that in his early works, Kieslowski used colour - and it's absence - wonderfully without resorting to monochrome). Perhaps it's the black-and-white which also reminded me of Jarmusch's 'Stranger than Paradise', although 'Ida' is less a self-conscious film. It won at the Oscars, although one senses that a film of this type can only win at the Academy in the category for foreign-language movies - American Oscar-winners are rarely this indirect and bare. Agata Trzebuchowska is good in the title role, but Agata Kulesza steals the show as her troubled aunt.
greatly disappointing, good only for the cinematography
No doubt this film has excellent cinematography. Nearly every scene is beautifully composed, and the stark landscapes and interiors of Poland keep your eyes riveted, held by the barrenness, even ugliness, of the country during its communist era.

Beyond that, however, mostly it's a giant disappointment. The build- up for it, especially its nomination as Best Foreign Film for the 2015 Academy Awards, lead you to expect something outstanding. But the "dark family secret" young Anna discovers about her family hardly comes as a shock, and after it does come, the story continues on much longer, leaving you waiting for a twist, a new development, a much more serious, truly unexpected dark secret. But it doesn't ever come. In fact, at the end, you're left wondering, "Is that all there is?"

We are supposed to be prepared for Anna's return to the convent by seeing her experiment with the secular lifestyle of her aunt, drinking, smoking, and sex. The sequence comes across as shallow and artificial. Her lover, for example, who apparently is in love with her, describes their potential future life together in the dreariest terms, without a trace of excitement, optimism, joy, romance.

Let's add to this some loose threads in the plot. Why were her parents killed? Why were they first hidden and fed and later murdered? Why would her aunt put on a winter coat in order to jump out the window? How can a virgin experience her first intercourse so placidly, as calmly as sipping a new brand of soft drink? How can she take her first drink of liquor straight out of the bottle with as much reaction as drinking water?
A Novice Nun, High-Heels, And A Dashing Saxophone Player
Well, I do have to give Polish director, Pawel Pawlikowski credit for 2 things in regards to this mind-numbingly bleak tale about a novice nun's change of heart - And that credit goes to -

(1) The very effective use of stark, b&w photography. Yes. At times this sort of camera-work was actually quite impressive to behold.

(2) Not going completely cliché with this film's excruciatingly slow-paced story and turning it into a Romeo & Juliet picture. 'Cause, believe me, with the introduction of the Lis character into this miserable, little tale, I was certain that we were all in for yet another reworking of Shakespeare's tale of tragic, star-crossed love (post-WW2 style). But, thankfully director Pawlikowski spared us this torture.

What makes this truly morbid (and equally depressing) film such a contrast to American films is that if you're waiting for something/anything to actually happen, then you're gonna have to be awfully patient - 'Cause everything in Ida's story is offered up in such small, miserable portions. And this, in turn, is bound to leave the viewer, for the most part, quite dissatisfied.

In conclusion - When it comes to "entertainment value", this is definitely the sort of film that requires that the viewer cut it a lot of slack, and, in doing so, not expect to get any joy out of its story in return.
"digital from start to finish"
Well, my friend, it wasn't digital from start to finish. It was shot on 35mm film, then scanned and finished digitally. You can see the film grain quite nicely there.

Just that you know.

Let that alone, I have to totally agree with you, as the camera was spectacular. I loved the "one third" compositions, but I have to admit, that once I started to recognize the style, I started to hate it at the and.

Still a beautiful piece, I especially loved the edit – that everything is told in last 20 minutes or so.
Unearthing history through film techniques
Pawlikowski's Ida is a sombre black and white film set in 60s Poland. Anna (AgataTrzebuchowska) is asked by the prioress of the orphanage convent where she is about to take her vows as a novice nun,to visit her unknown aunt Wanda in Lodz before she takes them . She has been raised in the Catholic convent where she was abandoned as a baby.Wanda (Kulesza) is a former state prosecutor and Communist Party member, jaded,alcoholic, promiscuous. Wanda is unwilling to take Anna away from the orphanage, because she would not be able to provide her with a happy life,when it's really her selfishness and her loose morals,she cares more about.She's devastated by the loss of her sister.

It is revealed to Anna that she is Jewish,called Ida and her parents, the Lebensteins, were killed during WWII.The film is a road trip in which Anna seeks her true identity.Wanda and Anna travel through bleak Polish countryside to the village where her parents lived.A man called Skiba is living in her parent's old house,he pretends not to know the people who once lived there and says he doesn't know where his father Syzmon is,who hid his parents during the war.The cinematography of the scenes is painterly, balanced by the use of natural light.The history and weight of the past is shown by the way each character is reduced to the corner or bottom of a frame in the unusual 1.37:1 aspect ratio and static camera.Sometimes the subtitles get in the way.

Wanda wants Anna/Ida to know her own ethnic identity,and to not sacrifice her carnal identity,before she has experienced it.She has never explored secular life,she is institutionalised,she does not know how to behave in the outside world-although she is given a measure of respect as a nun-she's never questioned the convent's practises because they are all she has ever known.Is the "family" of the convent to be her spiritual home or will she find fulfilment through the reality of her family's suffering? I get to feel she decides as a Christian what to do with her parents remains and what to do with the rest of her life, after briefly experiencing sexual love with a man,the saxophonist, who shows her a life she might live.

All the passion and energy is shown by Wanda,Kuleza's performance is riveting, plugging her emotional void with booze, sex, cigarettes and secular Communism.Her sharpness is good at unearthing latent anti-semitism.Anna is the axis around which the film turns, watchful, careful, marvelling at her aunt's repartee,when dealing with most of the people they meet as this odd couple. There is an attempt to create an existentialist new wave atmosphere in the jazz night club which seems a little unreal. Anna's final flight from Lodz recalls the end of The Third Man. My favourite black and white film since Inside Llewellyn Davis.

As Ida searches for her family's remains, she begins to question her decision to become a nun. As Wanda says, she has never explored secular life. That is why she laughs at the dinner table despite (presumably) never having done so before. She is no longer institutionalised. She has seen the world and needs to decide who she is on her own. Ultimately, she decides to be the religious, instead of the secular, person--but she does so on her own terms.
One of the poorest movies I've seen in a long while
What a disappointment. Slow moving, badly framed, curiously emotionless film that did not engage on any level. Yet another movie that exploits the holocaust theme, probably to garner votes at the Academy awards where "the Chosen get chosen" (to quote "The Simpsons"). The lead role was played by a sad looking woman with a permanently blank expression. Nothing about her life was believable (no parents, no contact from any relatives, no "carnal" desires, no humanity). Her bloodless role was contrasted to her aunt's cynical worldliness, as she puffs her way through countless cigarettes and downs bottles of vodka. You feel nothing for the aunt either after hearing how proud she was of sending people to their deaths for political dissent (she was as politically appointed judge). How this won when the opposition included excellent movies like "Leviathan" is absolutely shocking! I saw both movies back to back, and the difference in quality was stark.
Slow, but decent
Polish laureate for this year's best foreign-language movie in Kodak theater isn't a bad movie. It is slow, but it isn't a bad one. There were better ones (Georgian "Tangerines" and Spanish "Wild tales"), but there were also some worse flicks (Russian "Leviathan").

"Ida" is Pawel Pawlikowski's artistic expression in black and white and retro 4:3 format that follows young nun on her journey through inner transformation and exploration of the past time tragedy in the family. There is almost no music throughout the movie and the dialogs are stark. Agata Trzebukowska is doing fine as the leading role, while the other characters are only sketches in the somehow empty script.

To summarize, "Ida" is a slow, decent and a bit over prized movie.
A Well-made film with a Serious Limitation
This is a film that's full of Middle-European angst. After decades of totalitarian Nazi, then Soviet, rule, the angst is fully justified. The film's big problem, as I see it, that Ida's role as a Soviet judge who sometimes imposed death sentences, is given no background. Was she a true believer or an ambitious cynic? Or did she go from one role or another? How did she rise to her position? More about her life and development is needed for a full understanding of what's happening.

Despite this big limitation, the acting, direction, and black-and-white cinematography are all excellent. The novice nun's returning to the convent at the end is sad but fully understandable. However, Ida's role as a Soviet judge is not.
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