Write descriptive essay about Ida movie 2013, write an essay of at least 500 words on Ida, 5 paragraph essay on Ida, definition essay, descriptive essay, dichotomy essay.
UK, France, Poland, Denmark
IMDB rating:
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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Is Life In Poland Really This Bleak??
In a nutshell, I'd say that "Ida" is what one would call an "art" film. Nothing more. Nothing less.

And, in being an "art" film - Because its story was delivered in such a bleak, dry, dull-edged and slow-paced fashion, I, personally, consider it to be a very poor example of the genre that it represents. This is the sort of film that could only appeal to a very small and select audience.

"Ida" is one of those films where (due to its completely barren storytelling), one finds their mind wandering to other matters as the story progresses at a literal snail's pace.

Due to all of the unwarranted praise that "Ida" has garnered for itself - You can surely bet that had this stark, dead-end film been a Hollywood production no one would be giving it even the slightest bit of attention.

But, just because "Ida" is a foreign production (from Poland) critics, and the likes, are literally falling all over themselves with praise and admiration for such a depressingly miserable picture as this.
Simple Yet Effective Film
"Ida" is a novitiate taking her vows soon in order to be a nun. In fact, she was left there as a baby. All she knows of the world is her convent and sisters who raised her. They named her Anna. The only blood kin is an aunt who doesn't really want anything to do with her. She is told in order to fulfill her vows she has to contact her aunt. Against her will, she meets her. At first, the aunt closes the door in her face but then takes her in begrudgingly. Ida is told her real name, that she is Jewish and that her parents were killed. In searching for her past and more answers, she tries to find where they were buried. Together they go on a quest and together they learn things about each other. The aunt tells her that she needs to try to live and to do everything once.The climax comes when Ida leaves to go back to the convent, but the aunt feeling her life empty compared to Ida, jumps out her window. When Ida hears about this, we see her drinking, in bed with a guy, and trying to feel a bit of life that others have. But ultimately she returns to the convent in the last frame. This is a very simple, straightforward story told in black and white. The fate of being placed in the convent as a baby, the comparisons of lives, the lack of desire of possessions and lust all come together in this very direct, well made Oscar-winning production. Having said all that, I was a little disappointed with it. Despite its somber subject matter and black-and-white cinematography, it didn't have the dramatic impact of "A Separation" or "The White Ribbon." But "Ida" certainly made think. In that, the movie succeeds.
Ida + Anna = Vir-IDI-ANA
Ida seems to be a polemic response to Bunuel's Viridiana (1961). Indeed, 5 or 6 similarities can be notified. First: Anna, a young novice nun has to visit her aunt Wanda just before she takes her vow. Viridiana also is asked by her Madre Superior to visit her uncle Don Jaime, before the vow. Second: both Ana and Viridiana inherit the house of the dead relative. Third: the action in both movies is happening in 1961. Both movies are black&white. And the major clue is the name of characters: Ida + Anna vs. Viridiana. But in rest, Ida is completely different.

Thus, while Viridiana is an anti-catholic satire, and his character lamentably fails in her religious path, Ida shows a deep attachment to the monastery's life. The catholicism, generally speaking the religion, remains always a good way, no matter any economical, political or national contexts.
rare work
simplicity, great photographs, splendid script. at first sigh, an old fashion movie. in fact, wise manner to use the legacy of impressive tradition and a great director who use, in same measure, with same precision, tension, poetry of images, atmosphere of period, cultural roots. it is a reflection occasion about origins, truth, faith and choices. a profound Polish story who reflects the identity search of an entire continent. it is , certainly, a rare gem. the cause is not only beauty of photography or admirable acting but a special flavor who remains after its end as a delicate feeling. a young woman and the courage to become here self. that is all. in skin of seductive music.
Ida is magnificent, it will stay with me a long time. The narrative is powerfully compelling and yet if it had been a non-narrative film I would have been spellbound by the images alone. They should make a coffee table book of stills from it. Huge emotional issues are dealt with in a remarkably understated, unsentimental, but appropriate way. The use of music (often my pet peeve in these days of Hollywood formula) is enlightened and illustrative. I don't think the ending is ambiguous, I'm not sure the writer who wrote that understood it. Perhaps there is something slightly facile about the way things wrap up in the last 15 minutes of the film, but this is only in comparison with how beautifully they are laid out before that. Enough, this is not really a review, it is an exhortation - Go see Ida!
Depressing, and it is supposed to be.
Some things I liked about this film, others I did not. I liked stunning cinematography and scenery, choice of music, black and white art filming.

I did not like acting that much. Actors, by my humble opinion did not do the best job, although in this kind of film it is difficult to show your true nature and quality as an actor. I also did not like using Holocaust subject again and again. Post World War II cinema saw overuse of the subject, and I would like to see that to stop.

If I understand this film is on of the nominees for the Oscar for the best film in the foreign category. I am not sure I would vote for it. But who am I to decide anything.
Gorgeous looking and atmospheric gloom
It's 1960s rural Poland. Orphan Anna is a novice nun after being raised by nuns in the convent. She sees her only surviving relative Wanda Grub who is a hard drinking judge. She's told that her real name is Ida Lebenstein and their family was slaughtered late in the war. She goes in search of her past and find shocking revelations.

The movie's black and white cinematography looks gorgeous. The sparse dialog and quiet acting fills this with atmospheric gloom. There are surprising twists. It's heart-breaking. The coldness does overtake the movie too much and the actors aren't allowed to truly emote. The movie needs moments of emotional explosions to break up the slow gloom. Instead there are emotional explosions but shot in a quiet way.
Talking in pictures
Pawel Pawlikowski's beautifully-shot film 'Ida' is a sparse, yet unconventionally structured, film about a young nun's discovery of a hidden past in 1960s Poland. The Poles suffered terribly in World War Two, but the relationship of the Christian majority to their Jewish neighbours was complex and far from unsullied, and post-war, there was never a public accounting in the way that took place in the aggressor state of Germany. The film addresses the aftermath of this, and does so in an appropriately complex way.

The style is familiar from Pawlikowski's other works, like 'Last Resort', and the aesthetic is powerful, even though it always seems a little like cheating to shoot a film set in the past in black-and-white (I should note that in his early works, Kieslowski used colour - and it's absence - wonderfully without resorting to monochrome). Perhaps it's the black-and-white which also reminded me of Jarmusch's 'Stranger than Paradise', although 'Ida' is less a self-conscious film. It won at the Oscars, although one senses that a film of this type can only win at the Academy in the category for foreign-language movies - American Oscar-winners are rarely this indirect and bare. Agata Trzebuchowska is good in the title role, but Agata Kulesza steals the show as her troubled aunt.
Visually Stunning. A depressive journey of self-discovery
World War II left many marks until today, imagine in a 60's Poland, and add religion, and there's "Ida", a unique experience and visually beautiful. Anne, is going to take her vows to become a nun, but she has to visit her only living relative: her aunt Wanda Gruz, a woman destroyed by war,atheist, who lives getting drunk and having sex with several men. Anne discovers the dark secret of her family, and her real name: Ida. Wanda and Anne(now Ida)go to a trip in a post war Poland, to discover their past and their place in the world. "Ida" has a Black and White cinematography which is beautiful and at the same time melancholic, representing a Poland becoming a socialist country, but with several marks of the World War II. The Black and White cinematography relate to old movies, and the small screen representing oppression and sadness of these characters.The performances are great, the directing is excellent. "Ida" is a beautiful looking movie, but very depressing, has great performances and excellent directing,it's not a religious movie, it's a future classic and one of the best movies of the year (if not the best!).
Belongs in a portrait gallery, not on a movie screen
Saw this 8/22/15, prompted by any number of reviews that served up so much praise I expected to see the DVD box glow in the dark. Seeing was not believing, at least as far as those reviews are concerned. "Ida" struck me as a parody of art cinema, doing all the formulaic things so cherished by festival juries, art house distributors, and the members of the international cinematariat. And nobody else.

Take your pick among the long, painstakingly composed shots, the choice of black and white that is more affectation than art, a lead actress who poses for one loving, static shot after another, or a universally recognized serious subject. If there is a checklist for "art cinema", this movie completes it. This work does not merely move slowly. Handled competently deliberate pacing can help a movie. No, for considerable stretches "Ida" is utterly becalmed. It does not move at all. Instead, I suppose the director wishes us to savor all the painterly frames composed in homage to Chardin, de la Tour, Vermeer. Unfortunately, the unremittingly motionless portraits of the young lead, Agata Trzebuchowska, end up resembling a set of archival stills of Curtis Sliwa.

Two favorable comments: First, the stasis mercifully ends in less than an hour and a half. Second, in the film musicians perform Coltrane's "Naima". Just hearing that provides more redemption than witnessing the entirety of Ida's slow slog on the eve of her vows.

On the subject of the religious life, the audience for this movie is probably already familiar with Bresson's "Diary of a Country Priest" (1951), as well as Ida's polar opposite, "A Nun's Story" (1959). Somewhat similar thematically to "Ida" and its treatment of the Holocaust is Rossellini's 1954 satire "Where is Freedom?" Devotees of Eastern European bleakness on film would see "Ida" eclipsed by just about any movie directed by Hungary's Bela Tarr. Polish cinema can be experienced more profitably by viewing Kieslowski's "The Decalogue"(1989-1990), "Ida"'s possible inspiration. I have to admit that is setting the bar very high.
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