Cold War

Audience Reviews

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Kevin L @Lakeman Sep 24, 2026 Seeing it again last night just reinforced what a remarkable work it is. A great many young filmmakers would be well advised to see "Ida", as this is how you maximize your time, getting in all the themes, ideas, character sketching & visual images needed in 82 min. So this is a taut, esp. well-paced film that is able to convey profound depth, deeply affecting characters as well as the story line w/o a sense that it was rushed or needed more explication. The two leads are exceptional, making you want to see them again & again in other fine films; and certainly hoping their chemistry together is on screen again. Pawlikowski has a new film coming out soon ("Fatherland"), and with what he showed in this one as well as "Cold War", I anticipate more of the same. 4.2 stars See more Oleksii S @lovecircle13 Aug 15, 2026 Every frame is a MATERPIECE! God help me. Stands on its own. Every other love story movies seems like slop after this. Cuts so deep. Thank you Pawel , Joanna, Tomasz and every one who was involved in making this. This I will rewatch many times till I die. See more Thomas S @RT53929595 Feb 18, 2026 A film about true passion, despite the incompatibility of character and timing. The Polish folk songs are stunning. See more Arianna G @RT24345725 Apr 24, 2025 The 2018 romance-drama film Cold War directed by Paweł Pawlikowski persists as an impressive and unforgettable narrative that details the constraints placed on two ill-fated lovers, Zula and Wiktor, who come from opposing backgrounds during the tumultuous period of the Cold War. A key strength of the film is that it is a circular narrative, meaning that it starts where it begins, and ends where it started, particularly in the rural countryside of communist Poland. The film primarily equips music as an innovative technique and medium to portray the sentiments of the characters and how external influences demolish their unbridled and delicate connection of love. Additionally, the film is undoubtedly sonically charged – music is not only central to the narrative, incorporating various genres such as that of jazz and folk music, emphasizing how this medium develops across time and thus mirrors the emotions and tension of Zula and Wiktor’s relationship. Music is ultimately what brings them together, but at the end, though, we have unrestrained silence – the only sounds we as spectators can hear is the wind and occasional chirps from crickets, providing a solemn reflection of the obliqueness of their final pairing, which ends with their marriage at an abandoned church and presumingly, double suicide. One of the most memorable scenes of the film, in my opinion, was that of Zula and Wiktor’s secret encounter in the field. They had just taken a nap together, and after Zula wakes up from a dream realizing that she’ll be with him for as long as she lives, she also admits she’s been ratting on him, which stirs Wiktor awake. As Wiktor is a collaborator of the folk dance and music ensemble with Kaczmarek, a Polish official, his relationship with Zula is clandestine, and must be kept under wraps to prevent any issues because of the inherent power dynamic. Zula admits that Kaczmarek has been enforcing confessions for all of the women in the ensemble, and has been hitting on her, which Wiktor ignores. Wiktor is more interested in what Kaczmarek wants to know, which Zula begins to tell him about: “Things… What you did during the war. If you listen to Radio Liberty. If you have dollars. If you believe in God. Do you? I do” (Pawlikowski 00:25:12 – 00:27:37). Wiktor quickly gets up and leaves furiously, which is met with Zula’s insults ranging from “bourgeois wanker” and an implication that she could ruin his life with their secret if she wanted to. Zula then jumps into the water, which catches Wiktor’s attention, and to console herself, Zula floats and lets the river take her away as she sings a Russian love song, seemingly at ease in her own world. However, later, the two sit in silence near a fire, uncertain of their future together. This marks a turning point in their relationship, especially because soon they will embark on trips across Poland, and the more public coverage the ensemble receives, the less private and intimate moments they’ll be able to enjoy together. The fact that confession is strongly enforced for the women in the ensemble emphasizes the corruption within this self-government – the main benefit that Kaczmarek receives is gaining information on others, particularly of people he personally doesn’t trust, especially if they don’t comply with the Communist government’s wishes. With this in mind, previously, the viewer has been made aware that Kaczmarek appeased the Polish Communist Party, specifically to center Comrade Stalin in the ensemble’s performances. In essence, Stalin becomes a figure of devotion, even though God and all forms of religion are strongly opposed under Communism. Kacmarek not only imposes devotion to Stalin, thus a new religion, through ensuring the ensemble complies with the orders of the government, but also normalizes this confession aspect as a way to gain an advantage over all, though it is often said that no one is more powerful than God. It is also clear that Zula and Wiktor are alienated from society, and the only consolation to such is through being in partnership with each other, which is shown to be destructive yet freeing at times. The decay of the church shown both in the beginning and the end of the film represents the search for meaning, with imagery including eyes etched into the walls of the church and a circular hole in the ceiling. These images are essential for the viewer to consider how the forced removal and thus absence of God has consequently not only led God’s followers to feel hollow and disconnected from their own emotions, but perhaps, even God himself to those he gives hope to. God looks upon his home, which is now ruined, aghast. Additionally, God is the only witness to Zula and Wiktor’s marriage – no one else is present but the two lovers. The idea of isolation also persists during Zula and Wiktor’s time in Paris – Wiktor doesn’t even notice Zula leave the bar’s table to burst out into dancing when “Rock Around the Clock” starts playing, and is consequently annoyed that she dances in front of everyone, letting out a deep sigh (Pawlikowski 01:01:22 – 01:02:13). In reality, this is how Zula surmounts the deep, lasting isolation she’s faced in Paris, even though she’s with Wiktor, noting how much of an exile it feels for her. The immaculate staging and use of multiple angles to convey the duality of this experience reflects the desire for a deeper connection within the relationship between God and a follower, even in the midst of uncertainty and political turmoil. The concluding scene of Wiktor and Zula’s marriage in the church and double suicide by the ingestion of pills remains a haunting and bittersweet one. The stylistic choice of Pawlikowski to make this film in black and white is impressive – it has this ability to render a timeless, classic aesthetic and evoke nostalgia. Ultimately, this film is one that is not easily forgotten and continues provoking curiosity for the viewer, especially because of its ambiguous nature throughout. See more Liam D @Mediawatcher2003 Aug 17, 2024 Coming at a brisk 84 minutes this Oscar nomination drama is an unique romance that has great performances and beautiful cinematography See more Sasha W @RT16513918 Jul 16, 2024 The acting was terrific but the plot is sooooo frustrating to watch. I was bored the entire time. Literally NOTHING happens in this entire movie. I wasted $7 on a prime rental and I can’t get that 2 hours of my life back. No back story. Nothing exciting. I was rolling my eyes the entire time. I don’t understand why this movie is so highly rated. My boyfriend is a history buff and he didn’t enjoy it either. Soooooo slooooooow. See more Read all reviews

Cold War

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