One of 2018’s most acclaimed films comes from Poland. It is a love story somewhat disguised as a social commentary set during the turbulent post-World War II era as Europe struggled with all sorts of conflicting passions.

Pavel Pawlikowski’s film, shot in stunning black and white, follows music producer Wiktor (Tomasz Koto’s) as he and a couple of associates document the folk music traditions of rural Poland. He is attracted to a young singer, Zula (Joanna Kulig), and it is their relationship that the film chronicles, as they move in and out of each other’s lives, and countries across the continent, over the next twenty years.

Was anybody besides me bothered by the fact that Wiktor pretty clearly takes advantage of the student Zula he is supposed to be teaching? Their age disparity is not emphasized, and it may be inferred that Zula is the one manipulating Wiktor, but it nevertheless seemed wrong to me; I never got past the idea that they should not be together. So the rest of the story is slow torture for me, despite the obvious merits of the cinematography, acting and music. And the ending is a real downer.

European sensibilities are certainly different than ours in America, which makes its cinema a different experience. In this case, I feel out of the loop, unable to make the required connections that the film needs to connect with its audience. Cold War is certainly a well mounted production, and it may have important things to say about its social milieu, yet I found it to be emotionally sterile and unfulfilling. Perhaps that is due to the cultural differences to which I have referred. ☆ ☆ 1/2. 17 May 2019.