Early in Afterimage avant garde artist Władysław Strzemiński sits huddled in a cramped apartment painting. When his only light source is blocked by the red of a multi-floor Stalin banner unspooled atop his apartment complex, he gets up, slashes a hole in the banner, and gets back to work. The final film by maverick Polish filmmaker Andrzej Wajda — who passed away at the age of 90, shortly after the film premiered last fall at Tiff — is a triumphant, defiant portrait of an artist whose hands are tied and nearly cut off after refusing Sovietism and embracing the utility of art as propaganda. Wajda, unlike many of his contemporaries, rarely strayed from his native Poland, choosing to produce a wide range of features, including sprawling historical epics with national narratives like Pan Tadeuz and Katyn and a handful of more personal works like Everything For Sale, a meditation on the death of...
- 4/30/2017
- by John Fink
- The Film Stage
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