Pernat finds himself in a police interrogation, accused of a murder, and unable to recall any details of the crime, or even his own life. He's released back into a world of raving lunatics and deranged dentists, murderous doctors and scientists who believe the secret of human creation is inside the walls of a cast-iron oven.
Marek Walczewski Krystyna Janda Joanna Żółkowska Anna Jaraczówna Mariusz Dmochowski Wiesław Drzewicz Henryk Bąk Jan Nowicki Wojciech Pszoniak Krzysztof Majchrzak Grazyna Bernacka Zofia Czerwińska Natalia Sikorska Arkadiusz Bazak Zbigniew Buczkowski Emil Karewicz Ryszard Kotys Stanisław Manturzewski Borys Marynowski Marian Opania Ryszard Pietruski Jan Pietrzak Andrzej Seweryn Józef Skrzek Bogusław Sobczuk Grzegorz Warchoł
假人, 골렘, O Golem
Poland
Source: Mubi
Poland
Poland
I have reviewed every Piotr Szulkin film! You can find the rest here.
Sometimes it feels like you need a doctorate in Polish history, and an abiding interest in semiotic analysis, to truly appreciate the films made under the Communist regime of the Polish People's Republic. At the very least, the modern viewer (especially if that modern viewer is from a western country) should be aware of some relevant historical dynamics:
Following WWII, the Polish government strongly encouraged a homegrown cinematic industry, setting up a state-run film production and distribution organization called Film Polski. The Łódź Film School became one of the most respected film schools in the world, especially in the field of cinematography, eventually producing alumnus that include…
“So I have the right to choose?”
“You can think so
like a rat. In a maze.
Like an ant belonging to an ant hill”
Icl I think it’s hilarious how I’m watching a Szulkin joint before watching a single Tarkovsky or Zulawski film
(Yes I know I NEED to watch on the silver globe, I’ll get round to it. Stop your shouting)
But here we are.
At the start of a Polish Sci-Fi Tetralogy with less than 6k viewers and honestly I couldn’t be more excited.
I really hope I like these films
And I really did.
What a travesty it is that these films have been massively overlooked internationally.
If I a fever dream was a movie it…
"He's a human being."
"What makes you so sure?"
Identity politics vs. biopolitics. We're born into this world knowing nothing about ourselves — if we're anything like Pernat, it seems like everybody else knows more about us than we do. This struggle of self-discovery and self-actualization is hard enough on its own, but to make things worse, nefarious agents of biopower try to hijack and manipulate our selves in order to use them for their own purposes. They say their cause is benevolent, something about the reconstruction of humanity after the fallout of nuclear war, but their talk of engineering an improved human being smacks of eugenics, particularly when it seems all they want to engineer is docility. Attend the…
"Golem" is a 1980 dystopian science fiction film directed by Piotr Szulkin. An interesting contributor to the Polish film movement for a multi-decadal span starting in the mid 1970's, Szulkin's exhibits an often brutal setting vision of societal decay intermixed in a coated fear of the future world. Currently going through a series of his selected films, the first presented stop was that of "Golem" which takes a new approach to the 1915 novel version written by Gustav Meyrink, which in term has etymological origins connected with the old Jewish folk tale. In full honesty, as I really had minimal idea of the original sourced material, only really loosely knowing of the original folk tale in some proportioned form and…
I feel as though
if someone crushed my
brittle skull
it would break and
be hollow—
revealing nothing—
like a featureless,
cheap plastic doll.
The first time I met my friend Jon, I wasn’t sure what to make of him. Everyone said he was a great guy, but he just didn’t seem very approachable to me and I wasn’t terribly interested in anything he had to say.
Then one night we got drunk, and ever since, he’s been one of my best friends in the world.
I think I need to get drunk with Golem.
Uh... sorry, hold on... Right. OK, so, "Nie mówię po polsku. Niewiele wiem o Polsce. Wiem jednak, kim była Jadwiga. Pierogi." Thank you.
8/10
A dark and brooding dystopian sci-fi film Golem is steeped in layers of socio-political history. A film that feels like a very personal window into a cold and depressing world. Taking the classic folklore of "Golem" and reversing it, we are thrown into a world filled with robotic imposters. Among them lives a regular human, attempting to navigate this strange and unforgiving wasteland.
Now I must say it's a fairly dry film. The stylish choices, while enjoyably bleak were a stark contrast to the bright summer invading through my windows. Very much a personal bias but this might have hit harder in the fall or winter. Nonetheless I'm excited to venture further into this beautiful looking set from Vinegar Syndrome!
grande golem ti seguo da quando ti ho portato al livello 15 su clash royale
I hope this exchange didn't give you too much of a headache.
I read Gustav Meyrink's source novel a few years ago and still couldn't figure out this adaptation, which transplants the story from early 1900s Prague to a Polish dystopia. I liked Golem's sickly pallor and oppressive mood, but I'm going to need at least another rewatch to start to make sense of it all. Good stuff if you're a fan of Lynch, Kafka, and Polanski. Bonus points for that pink room scene, plus Pernat & Rozyna's pure love of film (We can stay in the cinema forever?)
- What church? This is a cinema!
- No, this is the Church of the Transfiguration! You clay abortion! This is the only place where you can confess your dreams!
Do you like rapid fire dialogue? What if said dialogue was essentially metaphysical in nature and cloaked in references to thousands of years of European history and heady allusions to post-war communism? And what if it was all in Polish?
Still a big yes? Well, you're in luck, because Piotr Szulkin's layered, labrynthine parable is here to lather a dark, dense patina of dust encrusted history and sodden futility all over Tarkovsky's crumbling paeans to the melancholic business of being human. Here to bring an Orwellian spark of electrical dystopia…
Really wish this was better-known— there were a whole lot of images and ideas that I didn’t understand and it’s obvious that they’re loaded with meaning, they just haven’t been sufficiently explored by scholars yet.
A couple standouts were the entirely nihilistic ending and the going-to-the-movies scene, talk about some powerful imagery!!
Also... this is now one of my most prized possessions bc at $300 for the box set, this bitch took me 108 hours of work to pay for... worth it!
