It’s taken me a while to catch up with this extraordinary film and I have to berate myself for not seeing it in the cinema such is the power of the visual imagery. The image above is misleading as director Paweł Pawlikowski uses the 4:3 Academy ratio. This frame shape emphasises vertical composition and in this interview in Film Comment he suggests that the decision to tilt the camera up for many of shots was whimsical (he was bored). The effect is to leave protagonists ‘drowning’ in the bottom of the frame, oppressed by what’s above them; often the ‘big sky’ seen above.
Ida (debutant Agata Trzebuchowska) is sent by Mother Superior to her remaining family, an estranged aunt (Agata Kulesza brilliant), before taking her vows. Reluctantly Ida finds herself investigating her Jewishness and Polish collaboration with the Nazis; the film is set in 1961. This portentous theme is dealt with fairly matter of factly though when her family are dug up in an unmarked grave the anti-drama mise en scene finds itself ‘compromised’ for a moment. By this I mean, Pawlikowski’s restrained aesthetics, such as little camera movement and non diegetic music, allow the drama to play out with seemingly little comment from himself.
It’s only Pawlikowski’s third feature in 15 years; it’s wrong to think of him as anti-commercial but he is uncompromising in his vision. The fabulous ‘look’ (ironically it’s a drained out black and white) of the film almost makes it appear as if was made in the time it was set although the unconventional framing mentioned above means it avoids pastiche. Polish cinema at this time was awash with brilliance and the young saxophonist that Ida meets reminds me of the great Zbigniew Cybulski (see for example Ashes and Diamonds). So it’s an unusual experience watching Ida which seems at once old and new.
It’s a proper arthouse film that lets the audience think and opens a window on history.