This text is written anonymously by a humanitarian aid worker, currently working in low and middle income countries.
I never considered myself a feminist. I grew up incredibly privileged — in a country where women had been fighting for their rights long before I was born. …
A scene at the end of Pawel Pawlikowski’s Cold War: a cross-road in the countryside, fields bordered by forests. The landscape is interrupted by a tall, full bodied tree, shading a bench. Wiktor and Zuzanna are sat down, facing the crossroad. ‘Let’s go to the other side’, says Zuzanna. ‘The view will be better there.’
Cold War moves around the love story between a composer, Wiktor and a musician and dancer, Zuzanna: one flees Poland for Paris, the other choses to remain, though they navigate borders between east and west constantly in the film, shaped by shifting political regimes. Wiktor’s fleeing is partly prompted by his work with a folk troupe, Mazurek (based on the Mazowsze ensemble). The troupe’s work emerges from a process of gathering regional folk songs and adapting them, but becomes quickly appropriated by the Stanlist political mechanism as a means of supporting policies. Zuzanna is a performer in the troupe, a survivor of sexual abuse. They are both entranced by their work and its desires; they are split in how they manifest this desire in a western musical ecology of smoke filled jazz clubs and cinematic composition, and an eastern one of emergent capitalism and folk traditions torn between spectacle and locality. …
‘All the images will disappear’, begins Annie Ernaux in The Years. ‘Thousands of words, the ones used to name things, faces, acts and feelings, to put the world in order, make the heart beat and the sex grow moist, will suddenly be nullified.’
Then, a list:
‘slogans, graffiti in public toilets, on walls in the street, poems and dirty jokes, headlines’.
a guy in a cinema add, the beach a Arenys de Mar, a newborn flailed in the air, an advert on TV, no. 90A on the Zattere in Venice. …