https://www.nationalreview.com/2019/03/cold-war-movie-anti-communist
Director Pawel Pawlikowski’s masterful film mounts a subtle, power-packed critique of the socialist phenomenon.
The best narrative art eschews didacticism in favor of subtlety and nuance and moral reflection. The Polish film Cold War, released last year and directed by Pawel Pawlikowski, is no exception. It tells the story, inspired by Pawlikowski’s parents, of Wiktor Warski (Tomasz Kot) and Zula Lichón (Joanna Kulig), whose amour fou burns against the backdrop of postwar Europe.
Wiktor’s passion for Zula consumes him. It haunts him for years after he flees Poland, and drives him to return despite the certainty of imprisonment. Zula herself is a beautiful, broken creature, the victim of abuse, talented but insecure, flirtatious, charming, impetuous, melancholy, who dulls her anxieties with alcohol. This passionate and doomed romance also has a political dimension. Which is why Cold War is not just melodrama. It’s a masterpiece.
The film is a subtle but devastating critique of the socialist phenomenon. Wiktor and Zula meet shortly after the end of World War II, when Wiktor is tasked with assembling a musical troupe that will perform folk music for the nomenklatura of the Soviet client government. With his partner, choreographer Irena Bielecka (Agata Kulesza), Wiktor tours the countryside, recording ancient melodies. They occupy what looks to be an old estate — a ruin of the ancien régime — where they hold auditions. Among the aspiring dancers and singers is Zula, to whom Wiktor is immediately drawn. Irena doesn’t share Wiktor’s enthusiasm, especially after Zula performs a song from a Soviet movie. But she relents. Zula joins the group.