The 2018 romance-drama film Cold War directed by Paweł Pawlikowski persists as an impressive and unforgettable narrative that details the constraints placed on two ill-fated lovers, Zula and Wiktor, who come from opposing backgrounds during the tumultuous period of the Cold War. A key strength of the film is that it is a circular narrative, meaning that it starts where it begins, and ends where it started, particularly in the rural countryside of communist Poland. The film primarily equips music as an innovative technique and medium to portray the sentiments of the characters and how external influences demolish their unbridled and delicate connection of love. Additionally, the film is undoubtedly sonically charged – music is not only central to the narrative, incorporating various genres such as that of jazz and folk music, emphasizing how this medium develops across time and thus mirrors the emotions and tension of Zula and Wiktor’s relationship. Music is ultimately what brings them together, but at the end, though, we have unrestrained silence – the only sounds we as spectators can hear is the wind and occasional chirps from crickets, providing a solemn reflection of the obliqueness of their final pairing, which ends with their marriage at an abandoned church and presumingly, double suicide. One of the most memorable scenes of the film, in my opinion, was that of Zula and Wiktor’s secret encounter in the field. They had just taken a nap together, and after Zula wakes up from a dream realizing that she’ll be with him for as long as she lives, she also admits she’s been ratting on him, which stirs Wiktor awake. As Wiktor is a collaborator of the folk dance and music ensemble with Kaczmarek, a Polish official, his relationship with Zula is clandestine, and must be kept under wraps to prevent any issues because of the inherent power dynamic. Zula admits that Kaczmarek has been enforcing confessions for all of the women in the ensemble, and has been hitting on her, which Wiktor ignores. Wiktor is more interested in what Kaczmarek wants to know, which Zula begins to tell him about: “Things… What you did during the war. If you listen to Radio Liberty. If you have dollars. If you believe in God. Do you? I do” (Pawlikowski 00:25:12 – 00:27:37). Wiktor quickly gets up and leaves furiously, which is met with Zula’s insults ranging from “bourgeois wanker” and an implication that she could ruin his life with their secret if she wanted to. Zula then jumps into the water, which catches Wiktor’s attention, and to console herself, Zula floats and lets the river take her away as she sings a Russian love song, seemingly at ease in her own world. However, later, the two sit in silence near a fire, uncertain of their future together. This marks a turning point in their relationship, especially because soon they will embark on trips across Poland, and the more public coverage the ensemble receives, the less private and intimate moments they’ll be able to enjoy together. The fact that confession is strongly enforced for the women in the ensemble emphasizes the corruption within this self-government – the main benefit that Kaczmarek receives is gaining information on others, particularly of people he personally doesn’t trust, especially if they don’t comply with the Communist government’s wishes. With this in mind, previously, the viewer has been made aware that Kaczmarek appeased the Polish Communist Party, specifically to center Comrade Stalin in the ensemble’s performances. In essence, Stalin becomes a figure of devotion, even though God and all forms of religion are strongly opposed under Communism. Kacmarek not only imposes devotion to Stalin, thus a new religion, through ensuring the ensemble complies with the orders of the government, but also normalizes this confession aspect as a way to gain an advantage over all, though it is often said that no one is more powerful than God. It is also clear that Zula and Wiktor are alienated from society, and the only consolation to such is through being in partnership with each other, which is shown to be destructive yet freeing at times. The decay of the church shown both in the beginning and the end of the film represents the search for meaning, with imagery including eyes etched into the walls of the church and a circular hole in the ceiling. These images are essential for the viewer to consider how the forced removal and thus absence of God has consequently not only led God’s followers to feel hollow and disconnected from their own emotions, but perhaps, even God himself to those he gives hope to. God looks upon his home, which is now ruined, aghast. Additionally, God is the only witness to Zula and Wiktor’s marriage – no one else is present but the two lovers. The idea of isolation also persists during Zula and Wiktor’s time in Paris – Wiktor doesn’t even notice Zula leave the bar’s table to burst out into dancing when “Rock Around the Clock” starts playing, and is consequently annoyed that she dances in front of everyone, letting out a deep sigh (Pawlikowski 01:01:22 – 01:02:13). In reality, this is how Zula surmounts the deep, lasting isolation she’s faced in Paris, even though she’s with Wiktor, noting how much of an exile it feels for her. The immaculate staging and use of multiple angles to convey the duality of this experience reflects the desire for a deeper connection within the relationship between God and a follower, even in the midst of uncertainty and political turmoil. The concluding scene of Wiktor and Zula’s marriage in the church and double suicide by the ingestion of pills remains a haunting and bittersweet one. The stylistic choice of Pawlikowski to make this film in black and white is impressive – it has this ability to render a timeless, classic aesthetic and evoke nostalgia. Ultimately, this film is one that is not easily forgotten and continues provoking curiosity for the viewer, especially because of its ambiguous nature throughout.

Coming at a brisk 84 minutes this Oscar nomination drama is an unique romance that has great performances and beautiful cinematography

The acting was terrific but the plot is sooooo frustrating to watch. I was bored the entire time. Literally NOTHING happens in this entire movie. I wasted $7 on a prime rental and I can’t get that 2 hours of my life back. No back story. Nothing exciting. I was rolling my eyes the entire time. I don’t understand why this movie is so highly rated. My boyfriend is a history buff and he didn’t enjoy it either. Soooooo slooooooow.

Very musical and tragic story about two lovers destined to each other, but in that frame of comunist Europe you know it's not going to be easy. Simple and sober storytelling from Pawlikowski, as most of its fimography

Visually and musically captivating, emotionally complex and subtle, provides an interesting glimpse of life under communism

A touching story of love in some unfortunate times can make even a grown man cry.

A masterpiece. It reminds me of the realism of the French films in the 60's and 70's I admire so much. The love story is quiet, patient, and sincere. The film treats you like an adult and allows you to figure out the context of what is happening based on the talent of the actors, whether it be by a look, a smile, etc. Beautifully shot, and I hope to see more black and white films in mainstream movie making.

With the 2018 film "Cold War", Polish filmmaker Paweł Pawlikowski delivers an atypical love story in true Nouvelle Vague style. Wiktor and Zula are meant to be together, but due to the political circumstances and the personal issues of the characters, they fail to make it work. The European post-war landscape is painted in gorgeous black and white, making it a perfect background for this stunning but grim love story that spans multiple decades. The chemistry between its leads is incredibly sexy, but the doom that hovers over them is never far away. Cold War is a dazzling watching experience and comes close to being a masterpiece.

Cold War's primary drama follows a certain sensibility: that romantic love is paramount. The premise is that a love such as theirs supersedes all logic, even to the point of needless destruction of the self and the other. The fact that we do not see enough of this all consuming love (by way of screen-time and dialogue) is that I am left questioning the basis of their connection, often bewildered by the question "what is the point of all this stupidity?". That being said, this musical odyssey has stuck with me for months after watching it. The intrigue of Poland, its people, their music and language has stuck with me. Even that song, especially that song. If one believes in a tragic romantic love, this is the film to watch. Its artistic merits far outweigh the feeble logic (subjective of course) that one cannot recover from love lost, but rather that one should be destroyed by it. The performances are excellent, the textures of the Cold War political environment and natural environment are so rich that I felt like I was right there in the Cold despair where music and artistic integrity is all that one is left to cling to. This is a truly memorable film, rich in visual imagery and explorations of the human heart. And yes, romance.

Well directed, nicely paced, moves location to keep the pace and atmosphere changing. Central love story is convincing. Very decent without saying much new.

Reasoned its length concisely for efficient blows in romantic convictions, signified by its perfectly stylized and symmetrized framing as its most visually defining merit, all while mirroring the titular facts throughout the chemistry as analytically felt, even though it lost its engagement as it progresses without solidly realistic convincing to justify the pair's true feelings. (B)

This is certainly a very arty film - a black and white film mainly focussing on Polish culture linked with German culture and with a lot of Polish folk music and singing present. The singing is certainly good and the performances decent. While the film is about what could be called an unfortunate romance (mismatched people), I can't honestly say I found it an especially romantic type of a film as such. The fact it's filmed in black and white adds to the overall bleak feeling it has. It's an interesting film but quite slow in terms of plot. I thought this felt like a good film but it isn't entirely memorable or great, so I'd give it this rating (7 out of 10). If your particularly keen on arty type world cinema films then I'd recommend it, otherwise not so much.

Spanning Europe in the fifteen years following World War 2, Pawel Pawlikowski's Cold War follows the romantic relationship between Wiktor (Tomasz Kot), a musician and instructor in a Polish institute catering to young entertainers, and Zula (Joanna Krug), a talented and enigmatic young singer. After escaping to the West and leaving Zula behind, Wiktor must accept the fact that their relationship will be nothing more than sporadic, allowed only when the repressive Polish government allows her to leave the Communist Bloc to perform abroad, reinforcing the sentiment of a secondary character: ‘time doesn't matter when you're in love.' One of the most beautifully shot films in recent memory, Cold War succeeds on the strength of its characters, solid performances (especially that of Krug), patient editing, and compelling moral dilemmas. It is a difficult film to find fault with.

A masterpiece. Period.

Rien que la première scène est tout simplement inoubliable ! Caméra qui tourne au milieu des chanteurs. Magnifique odyssée tragique entre la Pologne et la France. BO géniale avec un leitmotiv qui se transforme par rapport aux années qui passent, à la géographie et aux choix des personnages.

Cold War is a beautiful piece of art. It's gorgeous black and white visuals, combined with its loose and skillful cinematography make it a work of visual excellence. At the same time a stunning soundtrack (alongside amazing choreography) makes it a joy to hear. Though its story is a little sparse on detail (something I like to call the curse of the indies), it is, for the most part, salvaged by superb acting and chemistry, conveying much of the tales meaning and message. 97/100

pretty good movie, nice shots in black and white. intense love movie.

Pawel Pwlikowski gives us a story about passion, about love between a man ad a woman separated for their moment in history, for their differences, but also joined for them

Cold War is an undeniably visually striking film that struggles to transcribe its visual success into a substantive journey. The black and white colour palette somehow advances beyond its limits through superb sonic features and lighting. Kot and Kulig both act with a reckless passion, making their romance sizzle with a connection almost outrunning the story's slimness. This slimness is the film's main downfall. Although the lack of background and concrete personality of the characters adds to the fleetingness and desperation of the central relationship, this leads to apathy in the audience rather than a sense that the snapshots of these lives across years shown on the screen amount to a piece of beauty. The flaws of both characters, more so Zula, render them less likable due to their arcs remaining cyclical rather than advancing anywhere. Therefore, the film remains a superficial treat with clever usage of visuals and wonderful music not quite recompensing for a lack of core elements.

Visually impressive and abundant in passion and emotions, 'Cold War' is a film worth watching.