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The nineteenth-century poet and philosopher Charles Baudelaire has become synonymous with the concept of the flâneur. The flâneur was typically a male who had the leisurely time to "stroll" and observe metropolitan life in all its delights and displeasures. This article examines Paweł Pawlikowski's 2013 film, Ida and reconceptualizes the concept of the flâneur and appropriates it to a female protagonist, a flâneuse, along with a new setting and time period: the countryside and 1960s Communist Poland. Engaging in flâneuserie in the city allows Ida to experience new things, but it is in the countryside where Ida will come to terms with an instructive truth. [ABSTRACT FROM AUTHOR]

Does homecoming epitomize Polish filmmaker Pawel Pawlikowski's last two films, Ida (2013) and Cold War (Zimna wojna, 2018)? Considering the box office, the awards won, and the film critics' response, it seems that the transition from documentaries to feature films meant a turn to Polish history and identity for the director. (Pawlikowski was born in Warsaw but has spent most of his life abroad after his parents left Poland in the wake of the anti-Zionist campaign of March 1968, while he was still a teenager.) As Jerry White put it, analyzing Cold War in the light of Pawlikowski's earlier career as a British filmmaker interested in non-Polish themes, his last two films have put "Polish cinema back into global spotlight." The question arises whether Pawlikowski's recent films gained worldwide success—in fact, they were more successful abroad than in Poland itself—because of the vision of Poland they convey, rather than a "Polish vision" of postwar European history and identity. This article examines several the major themes of Pawlikowski's films and compares them with the work of other acclaimed Polish directors, especially one of Krzysztof Kieslowski's later films, The Double Life of Véronique (La double vie de Véronique, 1991). [ABSTRACT FROM AUTHOR]

The article attempts to deconstruct the dominant Polish discourse regarding the 'Polish-Jewish relations'. Its central figures are: the logic of the golden mean as a tool to reach historical truth, symmetrisation of Polish and Jewish wrongs and faults, and hospitality as the prevalent attitude of Poles towards Jews. The authors show its opinion forming power using three examples: a review of Paweł Pawlikowski's film Ida, the reception of the POLIN Museum of the History of Polish Jews, and a discussion on the Righteous monuments, which were to be erected in Warsaw. [ABSTRACT FROM AUTHOR]

Pawel Pawlikowski's Ida (2014) tells the story of a nun who must learn to resituate her faith in light of new experiences and information. Through Ida's encounters, Pawlikowski suggests that God may be encountered in unexpected places. This theological meditation is done primarily through the elements of the film's color, framing, costuming, music, art direction, and character interactions, all of which work together to demonstrate Pawlikowski's thesis. By exploring this topic on film, Pawlikowski not only expresses his thoughts on where to seek God, but invites others to join him in his search. [ABSTRACT FROM AUTHOR]

The article announces film awards given to films including Timbuktu by Abder rahmane Sissako which won Cesar awards -France's version of the Oscars along with Ida and Kolya by Eric Abraham which won Oscar Awards.