” exists so far outside the realm of the expected, the acceptable and the neatly comprehensible that it acts as a striking reminder of just how narrow that realm can be. Occupying a conceptual space several universes away from “reality,” the scratchy, hand-drawn interior epic is alarmingly niche in appeal, but if you can slip into that tiny schism, it certainly rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.
Loosely speaking, it is set in Wilczynski’s childhood home of Lodz, in the 1970s, when a browbeaten Poland was still firmly in the clutches of the communist regime. The city backdrops are rendered in unusual detail, with plumes of smoke puffing from the industrial skyline, which has the eloquent effect of oppressing the more crudely-drawn human characters that populate it.
The film does not feel directly political, yet the style still recalls the politicized caricatures of George Grosz or the ghouls of Otto Dix meeting the surreal grotesqueries of Jan Svankmajer or Jiri Barta, minus the aesthetic intricacy.
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Source: Variety - 🏆 108. / 63 Read more »