🎦 Ida full movie HD download (Pawel Pawlikowski) - Drama. 🎬
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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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Offers no easy answers
Anna (Agata Trzebuchowska), a young novice ready to take her vows, learns through her aunt Wanda (Agata Kulesza) that she is of Jewish parentage and must come to terms with a past she never knew existed. Polish director Pawel Pawlikowski's Ida offers no easy answers but looks at each character's complexities, leaving only a trail of ambiguity. Shot in black and white by cinematographers Ryszard Lenczewski and Lukasz Zal, the film is set in Poland in the early 1960s and masterfully captures the bleak look of Communist-controlled Eastern Europe where the physical and emotional scars of World War II are impossible to hide.

Before taking her vows, the Mother Superior asks Anna to go to Lodz to visit her Aunt Wanda, her only living family member, but the visit causes her to experience emotions she had never been forced to confront. When the slender, frail, saintly-looking younger woman meets her aunt for the first time, Wanda is dressed in a bathrobe, a drink in one hand and a cigarette in the other, a shadow of the judge and former Communist prosecutor of "enemies of the state," who routinely sent people to their death. Leading Anna into the kitchen, Wanda blurts out with little subtlety. "So, you're a Jewish nun," telling her that her real name is Ida Lebenstein and that she was brought to the convent as an infant after her family was murdered by either the Nazis or the locals.

On the surface, Wanda is the sinner and Ida is the saint, but, as the film progresses, these distinctions become blurred and each is revealed as a multi-layered human being whose mysteries are not easily penetrated. When Ida asks to visit the grave where her parents are buried, Wanda tells her that "they have no graves," but both know that they must seek to find those responsible for the crimes. Wanda is aggressive as she tries to track down the guilty, but the search is more of a psychological journey to find closure than a desire for revenge. Along the way, Ida, an innocent motivated by faith, listens to the more experienced Wanda who tells her to live her life fully while she has the chance.

While it is difficult to know with any certainty what Ida thinks about the idea, she hesitatingly samples the secular life in a romantic relationship with Lis, a handsome saxophone player (Dawid Ogrodnick) who has a gig at their hotel, removing her habit and literally and figuratively letting her hair down. When Lis invites her to go to the beach with him, she asks, "What then?" When he replies, "Marriage and a family," she asks again, "Well, what then?" His answer is that we just go on to live our life, a notion that Ida seems to recoil from, but carefully guards her emotions.

Ida is a quiet film but masks the characters' inner torment. There is little dialogue but thanks to the direction and the strong but understated performances, especially from nonprofessional Trzebuchowska, the film becomes a hypnotic, if enigmatic experience. While Ida raises the question about whether or not it is best to live with comfortable illusions or seek an often painful truth, viewers are left to decide the answer for themselves.
Wonderful Cinematography but shows polish antisemitism as a general rule, rather than an exception as indeed was.
IDA certainly deserves the Oscar for Best cinematography. Especially its spectacular takes that sometimes leave the protagonists nearly out of the screen resembling what in painting we call Decentrism. Pawel Pawlikowski's approach to filmmaking evokes in a way the magic of Bergman's pictures. As regards the screenplay, we, again, come across something unusual and thought provoking. Depending on the nationality of the viewer and his knowledge of the history of those times the film may affect him\her in a different way. A Jew might find that the majority of Poles are anti-Semitic, whereas these will regret that this kind of opinion still prevails. And someone from another country, Brazilian, Belgian or Vietnamese, will not find either. For the "neutral" viewer the story told merely refers to the personal tragedy of the novice Anna and her aunt. And, to some extent, this perspective relieved from the objective-subjective burden of history and ideology, enriches the film's artistic value. Counseled by Mother Superior, the novice Anna (Agata Trzebuchowska) visits her aunt Wanda (Agata Kulesza) before taking her final vows. What would she learn about her past as the orphan who was brought up in the cloister? Would it not have been more natural to let her know why she was there? And why was that postponed for so long? The atmosphere in the cloister is somber, the religious rites ritualistic, phantasmagoric. One wonders how an authentic religious call could thrive on that kind of religious practice. The black and white picture creates this sort of impression and esthetics, stresses Ida's search for identity. Those seem to be the paths of an Ida more abstract than the Ida of the flesh. The all pervading greyness represents neither Heaven nor Hell. Not yet. "Did not Mother Superior tell you anything about me?" asks the aunt. "Nothing", replies Anna. Well, you are Jewish and your real name is Ida. Mother Superior knew of course, that Wanda had been a judge acting in the dreaded communist post war judicial establishment and that the young novice had been saved by a Catholic priest. Before confronting the future, Ida should now face the past. As regards the screenplay, we stumble against some factual inconsistencies. To get drunk and then go to bed with a young man and right afterwards put her novice's dress and veil on again, and all that in the brief interlude of one day and one night, is less than plausible. We do not notice on the part of Ida the slightest hesitation, or dilemma. She passes from one state of mind, from one state of the heart to another with bewildering naturalness and simplicity. Some movie makers do resort to this kind of resource of stretching the point so as to provide an argument for their thesis. Something in the film happens just to prove a point of view, but then one runs the risk of not telling a cohesive story and the artistic quality of the picture is weakened. Pawel Pawlikowski, despite his true and daring talent, still has a long way to go to equal Wajda (Ashes and diamonds), Kieslowski (The trilogy) and Polanski (Knife in the water). These movie makers prove that even madness requires cohesiveness and method (Repulsion by Polanski, A short film about killing by Kieslowski). Kawalerowicz, by the way, with his Mother Joan of the Angels, as well. And now, again, a comment about the plot. A girl is saved by the murderer because "she is so small", but a boy is killed. What makes our blood freeze is the "reason" alleged to kill him. After all, many dark- haired and circumcised boys survived the war protected by Christian families, concealed in orphanages. Among them was Polanski as well. And more, the "small girl" in the movie was the legitimate heiress of the coveted good, not the boy. So what could have been the intention of the plot writer? Lychowski, Rio de Janeiro, Brazil
A vow of sobriety
Small but brilliant film that claims a cinematographic language, sometimes forgotten, in which each shot and each picture is a fine work of jewelry in black and white. I am thinking in Bergman and of course in The Passion of Joan of Arc (1928). A movie of minimal artifice, meticulous in each shot but austere, about clear and light intimacy, made of simple visual harmony. Its succession of perfect images provides a very pleasant aesthetic experience. A simple heroic journey of a strange couple (aunt and niece) with conflicts portrayed through discreet, serene and restrained interpretations but that are very believable regarding the environment in which the story unfolds. Highly recommended although only for public who could enjoy with the preciosity of a post-war photo exhibition.
The Power of Subtlety and Silence in Cinema !!!!
Before deciding to watching Ida, I did not know what to expect. I was optimistic about its chances to impress me, but in the end not only did it impress me, I was for the lack of a more appropriate word, floored.

First and foremost, the film looks nothing like what you would expect a 2014 film to look like and this is not because of the fact that it is in black and white, but because of its cinematography. This has the look of a 1960s French New Wave film and some scenes are also very visually Bergman-esque.

The style of storytelling is slow and demands the patience of the viewer. The director has clearly used a very visual form of storytelling by doing away with expositional dialogues. So much is conveyed and implied through visuals through facial expressions, random gestures, the lighting, visual symbolism,etc. Paweł Pawlikowski expects the viewer to be extremely attentive and I love it when the director expects his audience to be perceptive.

The two main characters of Ida/Anna and Wanda are expertly portrayed by Agata Trzebuchowska and Agata Kulesza. I completely fell in love with Agata's eyes, they are so damn expressive and have a hypnotic beauty about them. The acting like the film itself is also very subtle and understated. The actors talk very little,yet they speak so much with just their eyes.

The film is about religion, war, prejudice, sexual and cerebral awakening, family and many other things. The movie is inexpressibly profound. The director deserves all the credit in the world for showing that a film as artistic as this and as visual as this can still be made at this day and age. I absolutely adore this film. It is a freaking masterpiece.
Not a masterpiece
The story is incredibly interesting and could have been turned into a great film.

The problem however are the dialogues, at least in the Polish original. They are totally unrealistic. The characters talk contemporary Polish, I would say the language young people currently speak. There is no effort to depict the way it was spoken in Poland a few decades ago. Also, the acting is not very good, especially from Trzebuchowska, Kulesza is much better. All in all, when I'm watching the movie I can't lose the impression that I'm watching people pretending to live in very different times.

Not sure if the problem also exists in other language versions, hopefully not.

It's not a bad film, but definitely not a masterpiece.
Lacks script colour
If I were to buy a book full of blank pages - the author's device to 'allow' the reader to imagine his own story, I would be justifiably miffed. I spot a trend in cinema productions of late - long, endless shots of no speech scenes where only the actors blank face is shown to us. This is very unsatisfactory, especially when the interior life of the principal character is never revealed or illuminated. Yes, there is some great cinematography and interesting use of props but that a great film does not make. This film fails massively to engage or tell a meaningful story. Both my cinema neighbours yawned noisily during this very short production. I too had difficulty keeping my eyes open. I've had my fill of spliced together stills pretending to be a 'movie'. I don't recommend this film but not because it is awful, it just misses the mark on most fronts.
Extraordinary film. Don't miss it!
Ida (2013) is a Polish film co-written and directed by Pawel Pawlikowski. This brilliant film follows a few days in the life of Anna, a young novitiate nun. Anna has been raised in a convent, and she plans to take her vows and stay in the convent for the rest of her life.

However, before this can take place, the mother superior sends her to meet her only living relative, a woman named Wanda.

The pair could not be less similar. Ida is quiet, gentle, thoughtful, and shy. Her aunt is tough as nails--she has real power as a judge, and she knows how to use it. She's a heavy drinker and a heavy smoker. She's also a Jew.

In the first few minutes of the movie, Anna learns that she's Jewish. As a very young girl, she was taken to the convent, where the nuns raised her. (Her real name is Ida, which is why that's the title of the film.)

Wanda and Anna set out to return to their rural home, to solve the mystery of what happened to their family 20 years earlier. Why did Ida survive, when her family--other than Wanda--did not?

This film, shot in black & white, is superbly constructed on every dimension. The plot is tight, and the acting is incredible. Agata Kulesza (Wanda) and Agata Trzebuchowska (Anna/Ida), are immensely talented actors.

The cinematography is incomparable. My wife and I felt as if any frame--from the beginning to the end of the movie--would make a great still photograph.

Pawlikowski knows how to focus on his main actors, but he also lets us know that, while the protagonists are involved in heartbreaking drama, the rest of the world is going about its business around them.

This is a grim film. Anna's life is restricted by her piety. Wanda's life is constricted by alcohol and--it would appear--by lack of any close personal relationships. Everyone in Poland is restricted by horrible memories, dark secrets, and Soviet domination.

Grim or not, this is a film you shouldn't pass up if you care about great cinema. We saw it on a large screen at the LittleTheatre in Rochester, NY. However, it will work well enough on DVD. Don't miss it.
Every scene is meticulously handled and perfectly framed. 'Ida' is full of striking compositions and uncompromising scenes.
Set in Communist Poland in 1962, Anna (Agata Trzebuchowska) is an 18-year-old nun who has been living in a remote Polish abbey since she was a very young orphan.

Without any immediate family, Anna's mother superior finds an aunt who wont return her pleas to take her. Before Ida takes her vows and disappears into monastic life for good, she has been instructed to meet her only living relative. Wanda (Agata Kulesza) is an unwelcoming aunt, who wastes no time in telling Anna that she was born a Jew, as Ida Lebenstein and put up for adoption by her parents before they went into hiding. Presumed dead, her parents bodies were never buried, so they embark on an uncomfortable journey to find out what happened to Ida's parents.

'Ida' is a film about two women's paths to liberation, an odd and often unspoken couple who slowly create a bond. Its a familiar story of people needing to uncover their pasts in order to shape their futures. Ida has the innocence and strength to enter into what a lifetime in the convent has spared her. She is able to stand up to her tortured aunt and the horrors of their past. Whereas Wanda is a shell of the woman she was, whose despair grows and grows whilst still attempting to be the only family Ida has.

Director Pawel Pawlikowski unravels mid 20th century Polish history in this austerely executed and exquisitely shot film. Filmed in as much natural light as possible, every scene is meticulously handled and perfectly framed. 'Ida' is full of striking compositions and uncompromising scenes. Little is given away and with minimal dialogue, yet still a film of only 80 minutes has a lot to say and even more to think about.

What do you do with the past once you've re-lived it? Does it embolden you or weaken you? Why do we really need to know, especially when there is no guarantee you will be better off for knowing? The nihilistic Wanda is the one to watch, not that Ida's presence is any less riveting. Kulesza gives a stunning performance of a woman in moral turmoil for not just the anguish inflicted on herself but for the guilt in doing the same to others. What becomes of these two women is startlingly realised in a wonderful film.
Who is Ida?
Ida could be a study of a historical time and place, one that takes a more personal perspective in looking back at one of the worst periods in our past. Ida is asked to meet her closest and only living relative before committing herself to taking the vows to become a nun. What she discovers along the way will definitely leave a mark on her life.

Ida meets her aunt, and it's obvious from the beginning there's a complex relationship here. Wanda tries to continue her detachment from her niece, but her defenses slowly crumble. Wanda is a tough soul, one that has evolved from being a part of an environment that has given her nothing but challenges and loneliness. She spends her life working for her comrades, engaging in one-night stands, and drinking. Ida soon discovers the reasons for Wanda's choices, and she soon must make one of her own.

Being Jewish in Poland was equal to a death sentence. Wanda explains to Ida she will whatever is necessary to locate the bodies of her parents. When they visit their last place of residence, it is clear there is something mysterious in their relatives' demise. It is at this time that guilt takes over, which forces people to start telling the truth. Eventually, we are shown what happened Ida's relatives, who they really were, and what their ultimate fate was.

The film is a visual tour-de-force, a black and white reflection and study of two women who must connect, understand the role in each other's lives, and their place is in society. Wanda presents a facade that allows her to hide her real self. She is hedonistic, strong, resourceful, but she is now willing to make concessions for her niece. When the truth comes out, the roles change, and it is at this moment that we see what each is capable of doing.

"Ida" is very economic in telling the story, most of it comes out from watching the performer's looks, interactions with others. They hardly speak. The truth comes out in bits, sometimes it is told by what is not said. It's guaranteed that you will probably be surprised, but it might also be possible you'll catch the big revelation in the first ten minutes. It's all in the way one perceives life, and one is familiar with the period. For a quiet film, "Ida" speaks loudly and clearly, with the determination to let us know her story, our story, a lesson to prevent us from repeating the same mistakes.
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.
📹 Ida full movie HD download 2013 - Jerzy Trela, Mariusz Jakus, Jan Wociech Poradowski, Artur Janusiak, Afrodyta Weselak, Agata Kulesza, Natalia Lagiewczyk, Halina Skoczynska, Adam Szyszkowski, Agata Trzebuchowska, Dorota Kuduk, Joanna Kulig, Izabela Dabrowska, Dawid Ogrodnik, Anna Grzeszczak - UK, France, Poland, Denmark. 📀