{"id":48552,"date":"2023-05-23T12:10:28","date_gmt":"2023-05-23T10:10:28","guid":{"rendered":"https:\/\/www.krakowfilmfestival.pl\/?p=48552"},"modified":"2023-05-26T21:59:39","modified_gmt":"2023-05-26T19:59:39","slug":"the-illumination-through-a-glass-darkly-the-promised-land-non-competitive-sections-at-the-63rd-kff","status":"publish","type":"post","link":"https:\/\/www.krakowfilmfestival.pl\/en\/the-illumination-through-a-glass-darkly-the-promised-land-non-competitive-sections-at-the-63rd-kff\/","title":{"rendered":"Non-competitive sections at the 63rd Krakow Film Festival"},"content":{"rendered":"\n
The Illumination, Through a Glass Darkly, The Promised Land, non-competitive sections at the 63rd KFF<\/h5>\n\n\n\n

The films of Krzysztof Zanussi, Ingmar Bergman, and Andrzej Wajda need no introduction; they are classics of European cinema. Just what do these excellent fiction films have in common with the great documentaries featured in our non-competitive series? Krzysztof Gierat, the creator of the three new sections, shares the idea behind them. <\/strong><\/p>\n\n\n\n

In the history of cinema, there are films of almost mythical status – ones that serve as a point of reference for cinephiles and can often become inspiration for filmmakers. When I watch exceptional documentaries, I often recall the sensations I had while seeing the works of the Masters. This year, three great titles are the patrons of 12 films. This selection includes films-festival winners, films–vivid portraits and films–neverlands.<\/em> – comments Krzysztof Gierat, director of the Krakow Film Festival.<\/strong><\/p>\n\n\n\n

The Illumination<\/strong><\/p>\n\n\n\n

In what is perhaps Krzysztof Zanussi’s most outstanding film, for which the director received the Grand Prix at the Locarno Film Festival, the protagonist searches for the truth about himself and the world, and longs for enlightenment. The protagonists of films presented and awarded at important film festivals also need this kind of illumination, as did their creators to deliver outstanding works that escape simple interpretations. 
This series features films about an excellent Polish-born painter (Apolonia, Apolonia<\/em><\/strong>, dir. Lea Glob), about the Chopin piano competition and its talented contestants (Pianoforte<\/em><\/strong>, dir. Jakub Piątek), about the international and lifelong friendship of two women (Between Revolutions<\/em><\/strong>, dir. Vlad Petri), as well as an experimental documentary inspired by Stanisław Lem’s prose (Solaris, Mon Amour, dir. Kuba Mikurda).<\/p>\n\n\n\n

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Pianoforte, dir. Jakub Piątek<\/figcaption><\/figure>\n\n\n\n
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Solaris Mon Amour, dir. Kuba Mikurda<\/figcaption><\/figure>\n\n\n\n
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Apolonia, Apolonia, dir. Lea Glob<\/figcaption><\/figure>\n\n\n\n
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Between Revolutions, dir. Vlad Petri<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Through a Glass Darkly<\/strong><\/p>\n\n\n\n

A novel is a mirror carried along a high road. At one moment it reflects to your vision the azure skies, at another the mire of the puddles at your feet<\/em> – to quote Stendhal. Through a Glass Darkly<\/em> is the title of Ingmar Bergman’s Oscar-winning film. In this series, the mirror will be turned towards characters from five countries. 
We’re going to take a look at Latvian schoolgirls born in 1960 and their current complex lives (The Girls of 1960<\/em><\/strong>, dir. Una Celma); make a visit to an Israeli hotel targeted in a terrorist attack in 1975 (Savoy<\/em><\/strong>, dir. Zohar Wagner); meet a Hungarian couple who unexpectedly wins a fortune in a lottery (Paying a Visit to Fortuna<\/em><\/strong>, dir. Matyas Kalman);we’ll shake a leg to the tune of Poland’s oldest DJ (Vika!<\/em><\/strong>, dir. Agnieszka Zwiefka); and be plunged into the war in Ukraine, following in the footsteps of an ambiguous hero (Yarik the Rascal<\/em><\/strong>, dir. Yurii Pupirin).<\/p>\n\n\n\n

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Yarik the Rascal, dir. Yurii Pupirin<\/figcaption><\/figure>\n\n\n\n
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Vika!, dir. Agnieszka Zwiefka<\/figcaption><\/figure>\n\n\n\n
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Savoy, dir. Zohar Wagner<\/figcaption><\/figure>\n\n\n\n
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Paying a Visit to Fortuna, dir. Matyas Kalman<\/figcaption><\/figure>\n\n\n\n
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Girls of 1960, dir. Una Celma<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The Promised Land<\/strong><\/p>\n\n\n\n

Hailed by many as Andrzej Wajda’s best film. This Oscar-nominated masterpiece is the turbulent tale of three friends from Łódź: a Pole, a Jew, and a German, who decide to create their own promised land. <\/p>\n\n\n\n

To tourists visiting Laos, the country seems like a gateway to paradise; they absorb its incredible beauty, but their view is generally rather superficial (Onlookers<\/em><\/strong>, by Kimi Takesue). Those coming to the polar region of Norway believe that this harsh but enchanting place will become their home despite cultural differences and dissimilar traditions (The Visitors<\/em><\/strong>, dir. Veronika Lišková). The pandemic prompts two Berliners to escape the hustle and bustle of the city and take up farming on remote Mallorca (Step by Step<\/em><\/strong>, dir. Felix Starck). A utopia? A little, yes, because each of these stories brings with it the anxiety about climate change.<\/p>\n\n\n\n

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Step by Step, dir. Felix Starck<\/figcaption><\/figure>\n\n\n\n
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The Visitors, dir. Veronika Lišková<\/figcaption><\/figure>\n\n\n\n
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Onlookers, dir. Kimi Takesue<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The Illumination:<\/h4>\n\n\n\n