Femina is one of the most interesting, original films, not only in Szulkin filmography, but in the whole Polish cinema known to me the last 30 years. But the occasion also one of the biggest disappointments, as I have always hunted for him, delighted szulkinowską tetralogy sci-fi, after which it was filmed. So far I have lived in the belief that some inefficiency is characterized as the latest title in the event of Mr Peter King Ubu , the result of a very long, more than a decade, a break in directing films. That if he managed to collect the necessary funds for its implementation at the beginning of the 90s, it would be a picture of a fully successful. I missed my only knowledge of Feminy to completely affirm this belief. Meanwhile, the film turned out to be primarily a reminder of the eternal argument, saying there evidence of the quality of originality. Because, as it turns out, back in 1990 Szulkin some fell out of the mold.
is not to say that I believe this is a bad film, or something like that. Nor, I do not believe that afterwards could be a good movie. But it is far from Golem or End of civilization, after screening Szulkin which entered the list of my favorite directors. And if I from Feminy began his adventure with the cinema, I do not know whether dotarłbym to these titles. The plot apparently shows a surprisingly ordinary, as the creator of history. Here is a woman in her thirties, Bogna, bids farewell to her husband at the airport, which is going to the West to work for a month. Is left alone with their son, but suddenly finds out about the death of his mother. Then goes to her hometown, which is traditionally a good reason to account for its past and think about the future. Already at the start of a remarkable story is the way history. Unusual, because a handful of draws on poetic dream. And the very first scene we hear the sound of a slap and the director's cry of "Action." When at last the next scene more reminiscent of a theater of the absurd, and the screen begins to appear regularly Joseph Stalin himself, it is clear that Szulkin not interested in the history of single women. I mean we are dealing here with a great allegory, filled to the brim with symbols. Very ambitious and very risky.
Femina is initially intriguing work, a party to a stunning audio-visual and narrative (Well, unless someone likes to oniryzmie and surrealism). And although it must take some time to make it clear that the lost Bogna is a lost era of socialism after the fall of Poland, even timidly enter the world of capitalism, the longer the film goes on, this is not so much more readable, but rather more and more tiring. It seems to me that if more of his "action" condense, if the limit is a veritable multitude of symbols and the theatrical arts of some native of Eugene Ionesco, then this would become not only very interesting but brief and very successful - or even average - living area. And here is a little bit of everything too much. Also, music and camera movements, because they seem too often come to the fore. This eventually leads to some confusion, immediately clouded by the more crazy paintings by Andrzej Zulawski. Of such things we used to say that either delight or repel. And again, I'm somewhere in the middle, almost like a heroine Feminy . Except that I, in contrast to it, something is not drawn to prostitution ... The film is missing statics, some time to rest, during which one could breathe easy, to again dip into everything. Past mixed with the present, in places not already know what is what, as it was in the cult Sandglass . But here it starts to simmer, because Femina is an image too cool, the viewer is constantly dystansującym. Is the image of a hermetic, which can not be, although to some extent underestimated, but probably can not be fully understood. It is a wandering artist statement, sometimes on the edge of gibberish, concern ing things for us, and Very Important Important. Maybe it is too important. How it used to sing a rebel group - the "Your ambition kills you."
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