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Lost for the real world


Ewa Wildner

Do you rememeber ONLY GOD FORGIVES? I bet you do, Refn made sure that his latest film was a memorable experience. No matter if you included it in your 2013 top list or the top list of your personal Razzie nominees, I am quite sure some scenes have forced their way into your mind and threaten not to leave any time soon. For me, it's a dream-like sequence in which the main character wanders around the maze of corridors. The red light of the place makes it impossible to distinguish reality from disturbing momentary visions. And no, I’m not a Ryan Gosling psychofan. It's the hypnotizing atmosphere that caught not only my curiosity, but also the most perceptive layer of my attention.

Just as the negative reviews of that movie, watching such films that stand out is exciting in itself, as is reading texts that make different interpretations and opinions come to light. But being able to write about the pictures that left a trace in your mind and join the global discussion of film aficionados – that's a real privilege. Just imagine: you can pick a sequence of the movie and turn it into words, not only making this seemingly impossible transfer but also consciously playing with it. The mere fact that words and opinions encompass and evoke emotions – these make up for all the doubts, struggles and failures, as well as waking up in the middle of the night with a recurring question in mind: who, on earth, is the target we are writing to?

Why do I want to write about films? Because I can see no other option. Because I’m already lost for the real world. When I see a dog, it’s not just a dog passing me by, it’s a dog of Ewan McGregor from the BEGINNERS. It is not just a Britney Spears' song played on the radio, it’s a piano-performed song by a wanna-be black James Franco in SPRING BREAKERS accompanied by the setting sun and bikini-clad girls with machine guns in their hands and pink balaclavas on their faces (I still haven't decided which part of it was the most hilarious).

And last but not least, I want to write about Polish films. Because I dare say they’re worth it. Not all of them, of course, but I advise you to pay attention to the cinematography that seems to be in a moment of passage – breaking taboos and post-communism spirit that still float in the air. You may discover that there are more names than Wajda, Kieslowski and Polanski that are worth the world's, or just your, recognition.



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