{"id":8330,"date":"2023-04-24T16:51:21","date_gmt":"2023-04-24T14:51:21","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=8330"},"modified":"2023-06-02T14:53:15","modified_gmt":"2023-06-02T12:53:15","slug":"identification-marks-the-films-of-jerzy-skolimowski","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/","title":{"rendered":"Identification Marks: The Films of Jerzy Skolimowski"},"content":{"rendered":"\n<p>May 5-June 1, 2023<br><a href=\"https:\/\/metrograph.com\/category\/skolimowski\/\"><strong>Metrograph<\/strong><\/a><br>7 Ludlow St, New York<br>NY 10002<\/p>\n\n\n\n<p>Email us at <a href=\"mailto:nyc.office@instytutpolski.pl\"><strong>nyc.office@instytutpolski.pl<\/strong><\/a> for a 40% discount code on Metrograph Membership. <a href=\"https:\/\/metrograph.com\/membership\/\"><strong>Metrograph Membership<\/strong><\/a>&nbsp;gives you access to all films streaming At Home, special premieres, conversations with favorite filmmakers, and Metrograph Editions. You&#8217;ll also receive discounts at the Ludlow Street location for the Commissary Restaurant, Bookstore, and $10 Member tickets at the Box Office (normally $17).<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>We are proud to announce a retrospective of films by Jerzy Skolimowski, opening at Metrograph on May 5, 2023, the day of Skolimowski&#8217;s 85th birthday. Please note, the Metrograph website and <a href=\"https:\/\/metrograph.com\/category\/skolimowski\/\"><strong>ticket sales<\/strong><\/a> will be updated over time to include upcoming screenings. Read <strong><a href=\"https:\/\/bit.ly\/3I7ijPz\">The Metrograph Interview: JERZY SKOLIMOWSKI IN CONVERSATION WITH SEAN PRICE WILLIAMS<\/a><\/strong>.<\/p>\n\n\n\n<p>Poet, actor, painter, screenwriter, and director, <strong>Jerzy Skolimowski <\/strong>is a creative whirlwind who\u2014even after leaving his native Poland in search of greater artistic freedom\u2014has never stopped working, and with 2022\u2019s&nbsp;<em>EO<\/em>, produced one of the finest works of an already legendary career. After co-writing the screenplays for Andrzej Wajda\u2019s 1960&nbsp;<em>Innocent Sorcerers&nbsp;<\/em>and&nbsp;<em>Knife in the Water<\/em>, the 1962 debut feature of Roman Polanski, a fellow graduate of the Polish Film School in Lodz, Skolimowski exploded onto the international film scene with his own brilliant breakout works,&nbsp;<em>Identification Marks: None<\/em>&nbsp;and&nbsp;<em>Walkover<\/em>, films of youthful brio and rebellion starring the director as alter ego Andrzej Leszczyc. His peripatetic career would see him making masterworks in Belgium, the UK, and the US before a triumphant return to post-Communist Poland where, now in his eighties, he continues to make films distinguished by their spirit of exuberant experimentation.<\/p>\n\n\n\n<p><em>Co-presented with Metrograph.<\/em><br>This event is part of&nbsp;<strong>#PolishHeritageDays&nbsp;<\/strong>celebrations.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Program<\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4-1024x576.jpg\" alt=\"\" class=\"wp-image-8332\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4-1024x576.jpg 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4-300x169.jpg 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4-768x432.jpg 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4-1536x864.jpg 1536w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4-1120x630.jpg 1120w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Copy-of-EO-4.jpg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong><a href=\"https:\/\/metrograph.com\/film\/?vista_film_id=9999003233\">EO<\/a><\/strong><br>dir. Jerzy Skolimowski, 2022 86 min, DCP<\/p>\n\n\n\n<p>Friday, May 5 at 5:15pm<\/p>\n\n\n\n<p>One of the most radically experimental narrative films of last year came courtesy of legendary Polish director Skolimowski who, well into his eighties, is taking risks most emerging young filmmakers wouldn\u2019t dream of. A road movie that looks at contemporary Poland through the eyes of a wandering donkey (as well as several other astonishing coup de cin\u00e9ma perspectives), EO takes some inspiration from Robert Bresson\u2019s Au Hasard Balthazar, but where Bresson avoids psychological interiority, Skolimowski shows a wide variety of human folly as it might appear to a much-persecuted animal, in the process creating one of his most memorable protagonists.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-2 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover-1024x576.jpg\" alt=\"\" class=\"wp-image-8340\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover-1024x576.jpg 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover-300x169.jpg 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover-768x432.jpg 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover-1536x864.jpg 1536w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover-1120x630.jpg 1120w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/walkover.jpg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong><a href=\"https:\/\/metrograph.com\/film\/?vista_film_id=9999003230\">Walkover<\/a><\/strong><br>dir. Jerzy Skolimowski, 1965, 77 min, DCP<\/p>\n\n\n\n<p>Saturday, May 6 at 5:30pm<\/p>\n\n\n\n<p>Skolimowski returns to the role of Andrzej Leszczyc in the atmospheric second film of his Leszczyc trilogy, in which the director\u2019s authorial alter ego has grown up into a sullen, footloose amateur middleweight boxer, newly arrived in a haunted factory town to take part in a contest for young fighters, though he himself is pushing 30. (Significantly, the film contains only 29 individual set-ups.) Adding inestimably to the film\u2019s feeling of dreamlike drift is the score by Skolimowski\u2019s friend and collaborator, the great jazz composer Krzysztof Komeda. Cahiers du cin\u00e9ma\u2019s #2 film of 1966.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-3 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01-1024x576.jpg\" alt=\"\" class=\"wp-image-8339\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01-1024x576.jpg 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01-300x169.jpg 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01-768x432.jpg 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01-1536x864.jpg 1536w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01-1120x630.jpg 1120w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/hands-up-01.jpg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong><a href=\"https:\/\/metrograph.com\/film\/?vista_film_id=9999003229\">Hands Up!<\/a><\/strong><br>dir. Jerzy Skolimowski, 1981, 76 min, DCP<\/p>\n\n\n\n<p>Saturday, May 6 at 1:15pm<\/p>\n\n\n\n<p>Skolimowski had started to film this, the final film in his Andrzej Leszczyc trilogy, back in 1967, until the interference of Polish censors caused him to abandon the project and leave his homeland. Invited to revive the project by the liberalizing Polish government 14 years later, Skolimowski appended a color prologue in which he ruminates on his life in exile to the original black-and-white footage, a surreal satire of \u201960s materialism that also looks back to the horrors of World War II and Stalinism.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-4 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water-1024x576.jpg\" alt=\"\" class=\"wp-image-8338\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water-1024x576.jpg 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water-300x169.jpg 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water-768x432.jpg 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water-1536x864.jpg 1536w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water-1120x630.jpg 1120w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/knife-in-the-water.jpg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong><a href=\"https:\/\/metrograph.com\/film\/?vista_film_id=9999003234\">Knife in the Water<\/a><\/strong><br>dir. Roman Polanski, 1962, 94 min, 35mm<\/p>\n\n\n\n<p>Preparing to make his debut feature, Polanski recruited his old friend and Lodz Film School classmate Skolimowski to co-write the screenplay. The result is a riveting drama about a husband and wife who invite a student hitchhiker onto their yacht after almost running him over, its war-of-wills between the older and younger men presaging the central importance of intergenerational tension in Skolimowski\u2019s early films. Already a master at carefully modulating tension, Polanski gets an invaluable assist from Krzysztof Komeda\u2019s jazz score.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-5 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks-1024x576.jpg\" alt=\"\" class=\"wp-image-8342\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks-1024x576.jpg 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks-300x169.jpg 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks-768x432.jpg 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks-1536x864.jpg 1536w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks-1120x630.jpg 1120w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/identification-marks.jpg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong><a href=\"https:\/\/metrograph.com\/film\/?vista_film_id=9999003231\">Identification Marks<\/a><\/strong><br>dir. Jerzy Skolimowski, 1965, 73 min, DCP<\/p>\n\n\n\n<p>Sunday, May 7 at 7:00pm<\/p>\n\n\n\n<p>Skolimowski was still a student at the Lodz Film School when he finished his melancholic semi-autobiographical debut feature, the first title in his Andrzej Leszczyc trilogy, a stylish study in youthful aimlessness starring Skolimowski as the titular young man who\u2019s suddenly thrown his university studies and his girlfriend aside to join the army, and whom we see passing his final hours of freedom charting an idle course through a subtly surreal cityscape filled with ambient menace.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-6 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy-1024x576.jpg\" alt=\"\" class=\"wp-image-8341\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy-1024x576.jpg 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy-300x169.jpg 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy-768x432.jpg 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy-1536x864.jpg 1536w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy-1120x630.jpg 1120w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/image-w1280-3-copy.jpg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong><a href=\"https:\/\/metrograph.com\/film\/?vista_film_id=9999003235\">Innocent Sorcerers<\/a><\/strong><br>dir. Andrzej Wajda, 1960, 87 min, DCP<\/p>\n\n\n\n<p>Sunday, May 7 at 6:30pm<\/p>\n\n\n\n<p>The story goes that when Andrzej Wajda, the most acclaimed Polish director to emerge in the postwar period, first met Skolimowski, Wajda showed the young poet the original script of Innocent Sorcerers, and when he criticized its depiction of youth culture, Wajda invited Skolimowski to rewrite it himself. The story of a twentysomething doctor (Tadeusz \u0141omnicki) who spends his evenings jazz drumming and flirting freely\u2014until he passes a long night with a woman (Krystyna Stypulkowska) whose more than his match as a conversationalist and master of mind games.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"338\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/bf63cf02-f98a-c862-f559-2e26bcf034b3.jpg\" alt=\"\" class=\"wp-image-8422\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/bf63cf02-f98a-c862-f559-2e26bcf034b3.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/bf63cf02-f98a-c862-f559-2e26bcf034b3-300x169.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>Barrier<\/strong><br>dir. Jerzy Skolimowski,&nbsp;1966, 77&nbsp;min, DCP<\/p>\n\n\n\n<p>Friday, May 12 at 4:45pm<\/p>\n\n\n\n<p>Skolimowski\u2019s romantic, exuberant&nbsp;<em>Barrier&nbsp;<\/em>features Jan Nowicki as its nameless protagonist, an alienated medical student who abruptly abandons his studies to plunge into self-analysis and play the floating fl\u00e2neur in the streets of Warsaw, his various encounters including a beautiful tram driver and his senile pensioner father. Shot in solemnly sumptuous black and white, it\u2019s a film that exudes a feeling of reckless invention and youthful spontaneity, from its dialogues to Krzysztof Komeda\u2019s jazz score to its unexpected shifts into slapstick satire. <\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-8 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"338\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/2dc730e1-5c8f-aba0-9195-81be84405485.jpg\" alt=\"\" class=\"wp-image-8421\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/2dc730e1-5c8f-aba0-9195-81be84405485.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/2dc730e1-5c8f-aba0-9195-81be84405485-300x169.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>Le D\u00e9part<\/strong><br>dir. Jerzy Skolimowski,&nbsp;1967, 93&nbsp;min, DCP<\/p>\n\n\n\n<p>Friday, May 12 at 2:45pm<br>Saturday, May 18 at 7:00pm<\/p>\n\n\n\n<p>To make his first film outside of Poland, Skolimowski headed to Brussels to team up with Jean-Pierre L\u00e9aud, Catherine Duport, and cinematographer Willy Kurant\u2014all fresh from the set of Godard\u2019s&nbsp;<em>Masculin F\u00e9minin<\/em>. The result was the alternately frenetic and lyrical&nbsp;<em>Le D\u00e9part<\/em>, in which L\u00e9aud plays a gearhead hairdresser determined to drive his boss\u2019s Porsche in a rally car race, a stinging satire of manic materialism which derives its antic energy from L\u00e9aud\u2019s hyperkinetic speed demon performance and Krzyztof Komeda\u2019s score, which ranges from passages of moody melancholy to clangorous free jazz.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-9 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"325\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/30b556e2-96a3-acd4-ae6e-ba15e1fd68bf.jpg\" alt=\"\" class=\"wp-image-8420\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/30b556e2-96a3-acd4-ae6e-ba15e1fd68bf.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/30b556e2-96a3-acd4-ae6e-ba15e1fd68bf-300x163.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>Deep End<\/strong><br>dir. Jerzy Skolimowski,&nbsp;1970, 91&nbsp;min, DCP<\/p>\n\n\n\n<p>Saturday, May 13 at 7:40pm<br>Sunday, May 14 at 9:30pm<\/p>\n\n\n\n<p>Skolimowski\u2019s first film in the United Kingdom finds him surveying the English scene with a jaundiced eye in the darkly comic tale of a high school drop-out (John Moulder Brown) who takes a job serving lusty middle-aged matrons at a crumbling London bathhouse, where he soon develops a consuming obsession with co-worker Jane Asher. An antidote to the advertiser\u2019s myth of Swinging London which depicts a society seething with sexual repression, featuring the music of Cat Stevens and Krautrock giants Can (then billed as The Can), whose epic \u201cMother Sky\u201d is put to phenomenal use in one of the film\u2019s several standout set pieces.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-10 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"402\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/63026511-6db8-21c3-c0d2-d30dc8b3880b.jpg\" alt=\"\" class=\"wp-image-8417\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/63026511-6db8-21c3-c0d2-d30dc8b3880b.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/63026511-6db8-21c3-c0d2-d30dc8b3880b-300x201.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>The Shout<\/strong><br>dir. Jerzy Skolimowski, 1978, 86&nbsp;min, DCP<\/p>\n\n\n\n<p>Sunday, May 18 at 9:15pm<\/p>\n\n\n\n<p>On an isolated stretch of the Devon shoreline, experimental field recordist John Hurt and wife Susannah York receive an unexpected visitor: a mysterious, seductively charismatic vagabond (Alan Bates) who claims to be able to kill with his vocal cords, and who shortly begins to wield an unusual influence over the couple. York\u2019s performance of saucer-eyed enthrallment sets the unsettling tone of Skolimowski\u2019s eerie, hypnotic thriller, while the insinuating score by Tony Banks and Michael Rutherford of Genesis\u2014abetted by electronic music pioneer Rupert Hine\u2014adds another layer to the rich, menacing aural landscape of&nbsp;<em>The Shout<\/em>, a film that uniquely addresses the wonderful, terrible power of sound.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-11 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"338\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/f75a68e7-3d5b-0282-0389-70d8fb8c59ce.jpg\" alt=\"\" class=\"wp-image-8418\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/f75a68e7-3d5b-0282-0389-70d8fb8c59ce.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/f75a68e7-3d5b-0282-0389-70d8fb8c59ce-300x169.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>Four Nights With Anna<\/strong><br>dir. Jerzy Skolimowski, 2008, 87&nbsp;min, 35mm<\/p>\n\n\n\n<p>Saturday, May 20 at 7:50pm<br>Tuesday, May 30 at 9:15pm<\/p>\n\n\n\n<p>Made after a 17-year hiatus following the unhappy production of&nbsp;<em>Thirty Door Key<\/em>&nbsp;(1991),&nbsp;<em>Four Nights with Anna<\/em>&nbsp;finds Skolimowski an artist rejuvenated, collaborating for the first time with wife Ewa Piaskowska. Set in Poland\u2019s rural northeast, the film follows Leon (Artur Steranko), a tongue-tied middle-aged mortician\u2019s assistant who, after serving a stint in prison for a rape he witnessed but did not commit, begins a strange ritual of visiting the victim, a nurse named Anna (Kinga Preis) as she sleeps. A mysterious, ascetic, nocturnal film, steeped in desire and guilt, which announced the beginning of Skolimowski\u2019s triumphant second act.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-12 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"338\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/e53f995a-755d-1f95-6ddc-73a96a63a0dd.jpg\" alt=\"\" class=\"wp-image-8416\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/e53f995a-755d-1f95-6ddc-73a96a63a0dd.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/e53f995a-755d-1f95-6ddc-73a96a63a0dd-300x169.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>Moonlighting<\/strong><br>dir. Jerzy Skolimowski, 1982, 97&nbsp;min, Digital<\/p>\n\n\n\n<p>Saturday, May 20 at 3:15pm<br>Sunday, May 21 at 2:45pm<\/p>\n\n\n\n<p>Inspired and outraged by the imposition of martial law in Poland in December of 1981, Skolimowksi, then living in London, offered an artistic response to events with the nuanced political allegory&nbsp;<em>Moonlighting<\/em>, starring a young Jeremy Irons\u2014in an early lead role\u2014as a Polish contractor in England working in imposed isolation with four other illegals to renovate a flat owned by a corrupt countryman. (In fact, Skolimowski\u2019s own London apartment.) A poignant, crushingly claustrophobic portrayal of the exile\u2019s twinned alienation from both homeland and a foreign culture. \u201cPossesses such clarity of vision and simplicity that it seems to have been made in one uninterrupted burst of creative energy. It\u2019s a small, nearly perfect work of its kind.\u201d\u2014<em>The New York Times<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-13 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"250\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/356b36b4-a254-e8f8-e150-957c335a8847-2.jpg\" alt=\"\" class=\"wp-image-8414\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/356b36b4-a254-e8f8-e150-957c335a8847-2.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/356b36b4-a254-e8f8-e150-957c335a8847-2-300x125.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>11 Minutes<\/strong><br>dir. Jerzy Skolimowski, 2015, 81&nbsp;min, DCP<\/p>\n\n\n\n<p>Saturday, May 27 at 6:50pm<br>Monday, May 29 at 5:10pm<\/p>\n\n\n\n<p>A virtuoso thriller with a wildly original structure, Skolimowski\u2019s film\u2014described by the director as \u201can answer to the Hollywood action movies\u201d\u2014is comprised of vignettes showing the same 11 minutes in the lives of a variety of different, mostly unrelated characters in contemporary Warsaw, among them a jealous husband, his actress wife, a lascivious hot dog vendor, a crew of paramedics, a sleazy small-time producer, and an elderly painter (<em>Barrier<\/em>&nbsp;star Jan Nowicki). These disparate slices of life find Skolimowski reflecting on the self-imposed surveillance state created by ubiquitous digital cameras, and which unite in an explosive climax at the end of the 11-minute countdown. <\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-layout-14 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"323\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/defd1b54-e1e5-fc5a-7a1b-41f68c9ad5f4.jpg\" alt=\"\" class=\"wp-image-8419\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/defd1b54-e1e5-fc5a-7a1b-41f68c9ad5f4.jpg 600w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/defd1b54-e1e5-fc5a-7a1b-41f68c9ad5f4-300x162.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>Essential Killing<\/strong><br>dir. Jerzy Skolimowski, 2010, 83&nbsp;min, DCP<\/p>\n\n\n\n<p>Sunday, May 28 at 8:45pm<br>Monday, May 29 at 6:40pm<br>Thursday, June 1 at 9:15pm<\/p>\n\n\n\n<p>A harrowing, relentless, and deeply ambiguous depiction of persecution and flight,&nbsp;<em>Essential Killing<\/em>&nbsp;stars Vincent Gallo as a man\u2014perhaps a Taliban soldier, perhaps just a patsy caught up in the overzealous global War on Terror\u2014shipped from Guantanamo to Eastern Europe, where an accident allows him to escape from captivity. Plunging into the snowy woods of Poland and fighting for survival, Gallo gives a feral and nearly wordless performance in a film that, in its focus on a protagonist driven hither-and-tither by events beyond their control, in many ways presages Skolimowski\u2019s&nbsp;<em>EO<\/em>.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Screen-Shot-2023-04-24-at-2.46.15-PM-1024x126.png\" alt=\"\" class=\"wp-image-8367\" width=\"556\" height=\"68\" srcset=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Screen-Shot-2023-04-24-at-2.46.15-PM-1024x126.png 1024w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Screen-Shot-2023-04-24-at-2.46.15-PM-300x37.png 300w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Screen-Shot-2023-04-24-at-2.46.15-PM-768x95.png 768w, https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/Screen-Shot-2023-04-24-at-2.46.15-PM.png 1296w\" sizes=\"(max-width: 556px) 100vw, 556px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>May 5-June 1, 2023Metrograph7 Ludlow St, New YorkNY 10002 Email us at nyc.office@instytutpolski.pl for a 40% discount code on Metrograph Membership. Metrograph Membership&nbsp;gives you access to all films streaming At Home, special premieres, conversations with favorite filmmakers, and Metrograph Editions. You&#8217;ll also receive discounts at the Ludlow Street location for the Commissary Restaurant, Bookstore, and [&hellip;]<\/p>\n","protected":false},"author":105,"featured_media":8333,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[5,9],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Identification Marks: The Films of Jerzy Skolimowski - Instytut Polski w Nowym Jorku<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Identification Marks: The Films of Jerzy Skolimowski - Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"og:description\" content=\"May 5-June 1, 2023Metrograph7 Ludlow St, New YorkNY 10002 Email us at nyc.office@instytutpolski.pl for a 40% discount code on Metrograph Membership. Metrograph Membership&nbsp;gives you access to all films streaming At Home, special premieres, conversations with favorite filmmakers, and Metrograph Editions. You&#8217;ll also receive discounts at the Ludlow Street location for the Commissary Restaurant, Bookstore, and [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"article:published_time\" content=\"2023-04-24T14:51:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-02T12:53:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"576\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"klaudia\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"klaudia\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/\",\"name\":\"Identification Marks: The Films of Jerzy Skolimowski\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\"},\"datePublished\":\"2023-04-24T14:51:21+01:00\",\"dateModified\":\"2023-06-02T12:53:15+01:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2023-05-05\",\"endDate\":\"2023-06-01\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"image\":[\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY-300x169.png\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png\"],\"description\":\"May 5-June 1, 2023Metrograph7 Ludlow St, New YorkNY 10002\\nEmail us at nyc.office@instytutpolski.pl for a 40% discount code on Metrograph Membership. Metrograph Membership gives you access to all films streaming At Home, special premieres, conversations with favorite filmmakers, and Metrograph Editions. You'll also receive discounts at the Ludlow Street location for the Commissary Restaurant, Bookstore, and $10 Member tickets at the Box Office (normally $17).\\nWe are proud to announce a retrospective of films by Jerzy Skolimowski, opening at Metrograph on May 5, 2023, the day of Skolimowski's 85th birthday. Please note, the Metrograph website and ticket sales will be updated over time to include upcoming screenings. Read The Metrograph Interview: JERZY SKOLIMOWSKI IN CONVERSATION WITH SEAN PRICE WILLIAMS.\\nPoet, actor, painter, screenwriter, and director, Jerzy Skolimowski is a creative whirlwind who\u2014even after leaving his native Poland in search of greater artistic freedom\u2014has never stopped working, and with 2022\u2019s EO, produced one of the finest works of an already legendary career. After co-writing the screenplays for Andrzej Wajda\u2019s 1960 Innocent Sorcerers and Knife in the Water, the 1962 debut feature of Roman Polanski, a fellow graduate of the Polish Film School in Lodz, Skolimowski exploded onto the international film scene with his own brilliant breakout works, Identification Marks: None and Walkover, films of youthful brio and rebellion starring the director as alter ego Andrzej Leszczyc. His peripatetic career would see him making masterworks in Belgium, the UK, and the US before a triumphant return to post-Communist Poland where, now in his eighties, he continues to make films distinguished by their spirit of exuberant experimentation.\\nCo-presented with Metrograph.This event is part of #PolishHeritageDays celebrations.\\nProgram\\nEOdir. Jerzy Skolimowski, 2022 86 min, DCP\\nFriday, May 5 at 5:15pm\\nOne of the most radically experimental narrative films of last year came courtesy of legendary Polish director Skolimowski who, well into his eighties, is taking risks most emerging young filmmakers wouldn\u2019t dream of. A road movie that looks at contemporary Poland through the eyes of a wandering donkey (as well as several other astonishing coup de cin\u00e9ma perspectives), EO takes some inspiration from Robert Bresson\u2019s Au Hasard Balthazar, but where Bresson avoids psychological interiority, Skolimowski shows a wide variety of human folly as it might appear to a much-persecuted animal, in the process creating one of his most memorable protagonists.\\nWalkoverdir. Jerzy Skolimowski, 1965, 77 min, DCP\\nSaturday, May 6 at 5:30pm\\nSkolimowski returns to the role of Andrzej Leszczyc in the atmospheric second film of his Leszczyc trilogy, in which the director\u2019s authorial alter ego has grown up into a sullen, footloose amateur middleweight boxer, newly arrived in a haunted factory town to take part in a contest for young fighters, though he himself is pushing 30. (Significantly, the film contains only 29 individual set-ups.) Adding inestimably to the film\u2019s feeling of dreamlike drift is the score by Skolimowski\u2019s friend and collaborator, the great jazz composer Krzysztof Komeda. Cahiers du cin\u00e9ma\u2019s #2 film of 1966.\\nHands Up!dir. Jerzy Skolimowski, 1981, 76 min, DCP\\nSaturday, May 6 at 1:15pm\\nSkolimowski had started to film this, the final film in his Andrzej Leszczyc trilogy, back in 1967, until the interference of Polish censors caused him to abandon the project and leave his homeland. Invited to revive the project by the liberalizing Polish government 14 years later, Skolimowski appended a color prologue in which he ruminates on his life in exile to the original black-and-white footage, a surreal satire of \u201960s materialism that also looks back to the horrors of World War II and Stalinism.\\nKnife in the Waterdir. Roman Polanski, 1962, 94 min, 35mm\\nPreparing to make his debut feature, Polanski recruited his old friend and Lodz Film School classmate Skolimowski to co-write the screenplay. The result is a riveting drama about a husband and wife who invite a student hitchhiker onto their yacht after almost running him over, its war-of-wills between the older and younger men presaging the central importance of intergenerational tension in Skolimowski\u2019s early films. Already a master at carefully modulating tension, Polanski gets an invaluable assist from Krzysztof Komeda\u2019s jazz score.\\nIdentification Marksdir. Jerzy Skolimowski, 1965, 73 min, DCP\\nSunday, May 7 at 7:00pm\\nSkolimowski was still a student at the Lodz Film School when he finished his melancholic semi-autobiographical debut feature, the first title in his Andrzej Leszczyc trilogy, a stylish study in youthful aimlessness starring Skolimowski as the titular young man who\u2019s suddenly thrown his university studies and his girlfriend aside to join the army, and whom we see passing his final hours of freedom charting an idle course through a subtly surreal cityscape filled with ambient menace.\\nInnocent Sorcerersdir. Andrzej Wajda, 1960, 87 min, DCP\\nSunday, May 7 at 6:30pm\\nThe story goes that when Andrzej Wajda, the most acclaimed Polish director to emerge in the postwar period, first met Skolimowski, Wajda showed the young poet the original script of Innocent Sorcerers, and when he criticized its depiction of youth culture, Wajda invited Skolimowski to rewrite it himself. The story of a twentysomething doctor (Tadeusz \u0141omnicki) who spends his evenings jazz drumming and flirting freely\u2014until he passes a long night with a woman (Krystyna Stypulkowska) whose more than his match as a conversationalist and master of mind games.\\nBarrierdir. Jerzy Skolimowski, 1966, 77 min, DCP\\nFriday, May 12 at 4:45pm\\nSkolimowski\u2019s romantic, exuberant Barrier features Jan Nowicki as its nameless protagonist, an alienated medical student who abruptly abandons his studies to plunge into self-analysis and play the floating fl\u00e2neur in the streets of Warsaw, his various encounters including a beautiful tram driver and his senile pensioner father. Shot in solemnly sumptuous black and white, it\u2019s a film that exudes a feeling of reckless invention and youthful spontaneity, from its dialogues to Krzysztof Komeda\u2019s jazz score to its unexpected shifts into slapstick satire. \\nLe D\u00e9partdir. Jerzy Skolimowski, 1967, 93 min, DCP\\nFriday, May 12 at 2:45pmSaturday, May 18 at 7:00pm\\nTo make his first film outside of Poland, Skolimowski headed to Brussels to team up with Jean-Pierre L\u00e9aud, Catherine Duport, and cinematographer Willy Kurant\u2014all fresh from the set of Godard\u2019s Masculin F\u00e9minin. The result was the alternately frenetic and lyrical Le D\u00e9part, in which L\u00e9aud plays a gearhead hairdresser determined to drive his boss\u2019s Porsche in a rally car race, a stinging satire of manic materialism which derives its antic energy from L\u00e9aud\u2019s hyperkinetic speed demon performance and Krzyztof Komeda\u2019s score, which ranges from passages of moody melancholy to clangorous free jazz.\\nDeep Enddir. Jerzy Skolimowski, 1970, 91 min, DCP\\nSaturday, May 13 at 7:40pmSunday, May 14 at 9:30pm\\nSkolimowski\u2019s first film in the United Kingdom finds him surveying the English scene with a jaundiced eye in the darkly comic tale of a high school drop-out (John Moulder Brown) who takes a job serving lusty middle-aged matrons at a crumbling London bathhouse, where he soon develops a consuming obsession with co-worker Jane Asher. An antidote to the advertiser\u2019s myth of Swinging London which depicts a society seething with sexual repression, featuring the music of Cat Stevens and Krautrock giants Can (then billed as The Can), whose epic \u201cMother Sky\u201d is put to phenomenal use in one of the film\u2019s several standout set pieces.\\nThe Shoutdir. Jerzy Skolimowski, 1978, 86 min, DCP\\nSunday, May 18 at 9:15pm\\nOn an isolated stretch of the Devon shoreline, experimental field recordist John Hurt and wife Susannah York receive an unexpected visitor: a mysterious, seductively charismatic vagabond (Alan Bates) who claims to be able to kill with his vocal cords, and who shortly begins to wield an unusual influence over the couple. York\u2019s performance of saucer-eyed enthrallment sets the unsettling tone of Skolimowski\u2019s eerie, hypnotic thriller, while the insinuating score by Tony Banks and Michael Rutherford of Genesis\u2014abetted by electronic music pioneer Rupert Hine\u2014adds another layer to the rich, menacing aural landscape of The Shout, a film that uniquely addresses the wonderful, terrible power of sound. \\nFour Nights With Annadir. Jerzy Skolimowski, 2008, 87 min, 35mm\\nSaturday, May 20 at 7:50pmTuesday, May 30 at 9:15pm\\nMade after a 17-year hiatus following the unhappy production of Thirty Door Key (1991), Four Nights with Anna finds Skolimowski an artist rejuvenated, collaborating for the first time with wife Ewa Piaskowska. Set in Poland\u2019s rural northeast, the film follows Leon (Artur Steranko), a tongue-tied middle-aged mortician\u2019s assistant who, after serving a stint in prison for a rape he witnessed but did not commit, begins a strange ritual of visiting the victim, a nurse named Anna (Kinga Preis) as she sleeps. A mysterious, ascetic, nocturnal film, steeped in desire and guilt, which announced the beginning of Skolimowski\u2019s triumphant second act.\\nMoonlightingdir. Jerzy Skolimowski, 1982, 97 min, Digital\\nSaturday, May 20 at 3:15pmSunday, May 21 at 2:45pm\\nInspired and outraged by the imposition of martial law in Poland in December of 1981, Skolimowksi, then living in London, offered an artistic response to events with the nuanced political allegory Moonlighting, starring a young Jeremy Irons\u2014in an early lead role\u2014as a Polish contractor in England working in imposed isolation with four other illegals to renovate a flat owned by a corrupt countryman. (In fact, Skolimowski\u2019s own London apartment.) A poignant, crushingly claustrophobic portrayal of the exile\u2019s twinned alienation from both homeland and a foreign culture. \u201cPossesses such clarity of vision and simplicity that it seems to have been made in one uninterrupted burst of creative energy. It\u2019s a small, nearly perfect work of its kind.\u201d\u2014The New York Times\\n11 Minutesdir. Jerzy Skolimowski, 2015, 81 min, DCP\\nSaturday, May 27 at 6:50pmMonday, May 29 at 5:10pm\\nA virtuoso thriller with a wildly original structure, Skolimowski\u2019s film\u2014described by the director as \u201can answer to the Hollywood action movies\u201d\u2014is comprised of vignettes showing the same 11 minutes in the lives of a variety of different, mostly unrelated characters in contemporary Warsaw, among them a jealous husband, his actress wife, a lascivious hot dog vendor, a crew of paramedics, a sleazy small-time producer, and an elderly painter (Barrier star Jan Nowicki). These disparate slices of life find Skolimowski reflecting on the self-imposed surveillance state created by ubiquitous digital cameras, and which unite in an explosive climax at the end of the 11-minute countdown. \\nEssential Killingdir. Jerzy Skolimowski, 2010, 83 min, DCP\\nSunday, May 28 at 8:45pmMonday, May 29 at 6:40pmThursday, June 1 at 9:15pm\\nA harrowing, relentless, and deeply ambiguous depiction of persecution and flight, Essential Killing stars Vincent Gallo as a man\u2014perhaps a Taliban soldier, perhaps just a patsy caught up in the overzealous global War on Terror\u2014shipped from Guantanamo to Eastern Europe, where an accident allows him to escape from captivity. Plunging into the snowy woods of Poland and fighting for survival, Gallo gives a feral and nearly wordless performance in a film that, in its focus on a protagonist driven hither-and-tither by events beyond their control, in many ways presages Skolimowski\u2019s EO.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/newyork\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Identification Marks: The Films of Jerzy Skolimowski\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/\",\"name\":\"Instytut Polski w Nowym Jorku\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6\",\"name\":\"klaudia\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g\",\"caption\":\"klaudia\"},\"sameAs\":[\"http:\/\/lukasz.sienkiewicz@msz.gov.pl\"],\"url\":\"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Identification Marks: The Films of Jerzy Skolimowski - Instytut Polski w Nowym Jorku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/","og_locale":"pl_PL","og_type":"article","og_title":"Identification Marks: The Films of Jerzy Skolimowski - Instytut Polski w Nowym Jorku","og_description":"May 5-June 1, 2023Metrograph7 Ludlow St, New YorkNY 10002 Email us at nyc.office@instytutpolski.pl for a 40% discount code on Metrograph Membership. Metrograph Membership&nbsp;gives you access to all films streaming At Home, special premieres, conversations with favorite filmmakers, and Metrograph Editions. You&#8217;ll also receive discounts at the Ludlow Street location for the Commissary Restaurant, Bookstore, and [&hellip;]","og_url":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/","og_site_name":"Instytut Polski w Nowym Jorku","article_published_time":"2023-04-24T14:51:21+00:00","article_modified_time":"2023-06-02T12:53:15+00:00","og_image":[{"width":1024,"height":576,"url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png","type":"image\/png"}],"author":"klaudia","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"klaudia","Szacowany czas czytania":"15 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/","url":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/","name":"Identification Marks: The Films of Jerzy Skolimowski","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#website"},"datePublished":"2023-04-24T14:51:21+01:00","dateModified":"2023-06-02T12:53:15+01:00","author":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/"]}],"@context":"https:\/\/schema.org","startDate":"2023-05-05","endDate":"2023-06-01","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"image":["https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY-300x169.png","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2023\/04\/JERZY.png"],"description":"May 5-June 1, 2023Metrograph7 Ludlow St, New YorkNY 10002\nEmail us at nyc.office@instytutpolski.pl for a 40% discount code on Metrograph Membership. Metrograph Membership gives you access to all films streaming At Home, special premieres, conversations with favorite filmmakers, and Metrograph Editions. You'll also receive discounts at the Ludlow Street location for the Commissary Restaurant, Bookstore, and $10 Member tickets at the Box Office (normally $17).\nWe are proud to announce a retrospective of films by Jerzy Skolimowski, opening at Metrograph on May 5, 2023, the day of Skolimowski's 85th birthday. Please note, the Metrograph website and ticket sales will be updated over time to include upcoming screenings. Read The Metrograph Interview: JERZY SKOLIMOWSKI IN CONVERSATION WITH SEAN PRICE WILLIAMS.\nPoet, actor, painter, screenwriter, and director, Jerzy Skolimowski is a creative whirlwind who\u2014even after leaving his native Poland in search of greater artistic freedom\u2014has never stopped working, and with 2022\u2019s EO, produced one of the finest works of an already legendary career. After co-writing the screenplays for Andrzej Wajda\u2019s 1960 Innocent Sorcerers and Knife in the Water, the 1962 debut feature of Roman Polanski, a fellow graduate of the Polish Film School in Lodz, Skolimowski exploded onto the international film scene with his own brilliant breakout works, Identification Marks: None and Walkover, films of youthful brio and rebellion starring the director as alter ego Andrzej Leszczyc. His peripatetic career would see him making masterworks in Belgium, the UK, and the US before a triumphant return to post-Communist Poland where, now in his eighties, he continues to make films distinguished by their spirit of exuberant experimentation.\nCo-presented with Metrograph.This event is part of #PolishHeritageDays celebrations.\nProgram\nEOdir. Jerzy Skolimowski, 2022 86 min, DCP\nFriday, May 5 at 5:15pm\nOne of the most radically experimental narrative films of last year came courtesy of legendary Polish director Skolimowski who, well into his eighties, is taking risks most emerging young filmmakers wouldn\u2019t dream of. A road movie that looks at contemporary Poland through the eyes of a wandering donkey (as well as several other astonishing coup de cin\u00e9ma perspectives), EO takes some inspiration from Robert Bresson\u2019s Au Hasard Balthazar, but where Bresson avoids psychological interiority, Skolimowski shows a wide variety of human folly as it might appear to a much-persecuted animal, in the process creating one of his most memorable protagonists.\nWalkoverdir. Jerzy Skolimowski, 1965, 77 min, DCP\nSaturday, May 6 at 5:30pm\nSkolimowski returns to the role of Andrzej Leszczyc in the atmospheric second film of his Leszczyc trilogy, in which the director\u2019s authorial alter ego has grown up into a sullen, footloose amateur middleweight boxer, newly arrived in a haunted factory town to take part in a contest for young fighters, though he himself is pushing 30. (Significantly, the film contains only 29 individual set-ups.) Adding inestimably to the film\u2019s feeling of dreamlike drift is the score by Skolimowski\u2019s friend and collaborator, the great jazz composer Krzysztof Komeda. Cahiers du cin\u00e9ma\u2019s #2 film of 1966.\nHands Up!dir. Jerzy Skolimowski, 1981, 76 min, DCP\nSaturday, May 6 at 1:15pm\nSkolimowski had started to film this, the final film in his Andrzej Leszczyc trilogy, back in 1967, until the interference of Polish censors caused him to abandon the project and leave his homeland. Invited to revive the project by the liberalizing Polish government 14 years later, Skolimowski appended a color prologue in which he ruminates on his life in exile to the original black-and-white footage, a surreal satire of \u201960s materialism that also looks back to the horrors of World War II and Stalinism.\nKnife in the Waterdir. Roman Polanski, 1962, 94 min, 35mm\nPreparing to make his debut feature, Polanski recruited his old friend and Lodz Film School classmate Skolimowski to co-write the screenplay. The result is a riveting drama about a husband and wife who invite a student hitchhiker onto their yacht after almost running him over, its war-of-wills between the older and younger men presaging the central importance of intergenerational tension in Skolimowski\u2019s early films. Already a master at carefully modulating tension, Polanski gets an invaluable assist from Krzysztof Komeda\u2019s jazz score.\nIdentification Marksdir. Jerzy Skolimowski, 1965, 73 min, DCP\nSunday, May 7 at 7:00pm\nSkolimowski was still a student at the Lodz Film School when he finished his melancholic semi-autobiographical debut feature, the first title in his Andrzej Leszczyc trilogy, a stylish study in youthful aimlessness starring Skolimowski as the titular young man who\u2019s suddenly thrown his university studies and his girlfriend aside to join the army, and whom we see passing his final hours of freedom charting an idle course through a subtly surreal cityscape filled with ambient menace.\nInnocent Sorcerersdir. Andrzej Wajda, 1960, 87 min, DCP\nSunday, May 7 at 6:30pm\nThe story goes that when Andrzej Wajda, the most acclaimed Polish director to emerge in the postwar period, first met Skolimowski, Wajda showed the young poet the original script of Innocent Sorcerers, and when he criticized its depiction of youth culture, Wajda invited Skolimowski to rewrite it himself. The story of a twentysomething doctor (Tadeusz \u0141omnicki) who spends his evenings jazz drumming and flirting freely\u2014until he passes a long night with a woman (Krystyna Stypulkowska) whose more than his match as a conversationalist and master of mind games.\nBarrierdir. Jerzy Skolimowski, 1966, 77 min, DCP\nFriday, May 12 at 4:45pm\nSkolimowski\u2019s romantic, exuberant Barrier features Jan Nowicki as its nameless protagonist, an alienated medical student who abruptly abandons his studies to plunge into self-analysis and play the floating fl\u00e2neur in the streets of Warsaw, his various encounters including a beautiful tram driver and his senile pensioner father. Shot in solemnly sumptuous black and white, it\u2019s a film that exudes a feeling of reckless invention and youthful spontaneity, from its dialogues to Krzysztof Komeda\u2019s jazz score to its unexpected shifts into slapstick satire. \nLe D\u00e9partdir. Jerzy Skolimowski, 1967, 93 min, DCP\nFriday, May 12 at 2:45pmSaturday, May 18 at 7:00pm\nTo make his first film outside of Poland, Skolimowski headed to Brussels to team up with Jean-Pierre L\u00e9aud, Catherine Duport, and cinematographer Willy Kurant\u2014all fresh from the set of Godard\u2019s Masculin F\u00e9minin. The result was the alternately frenetic and lyrical Le D\u00e9part, in which L\u00e9aud plays a gearhead hairdresser determined to drive his boss\u2019s Porsche in a rally car race, a stinging satire of manic materialism which derives its antic energy from L\u00e9aud\u2019s hyperkinetic speed demon performance and Krzyztof Komeda\u2019s score, which ranges from passages of moody melancholy to clangorous free jazz.\nDeep Enddir. Jerzy Skolimowski, 1970, 91 min, DCP\nSaturday, May 13 at 7:40pmSunday, May 14 at 9:30pm\nSkolimowski\u2019s first film in the United Kingdom finds him surveying the English scene with a jaundiced eye in the darkly comic tale of a high school drop-out (John Moulder Brown) who takes a job serving lusty middle-aged matrons at a crumbling London bathhouse, where he soon develops a consuming obsession with co-worker Jane Asher. An antidote to the advertiser\u2019s myth of Swinging London which depicts a society seething with sexual repression, featuring the music of Cat Stevens and Krautrock giants Can (then billed as The Can), whose epic \u201cMother Sky\u201d is put to phenomenal use in one of the film\u2019s several standout set pieces.\nThe Shoutdir. Jerzy Skolimowski, 1978, 86 min, DCP\nSunday, May 18 at 9:15pm\nOn an isolated stretch of the Devon shoreline, experimental field recordist John Hurt and wife Susannah York receive an unexpected visitor: a mysterious, seductively charismatic vagabond (Alan Bates) who claims to be able to kill with his vocal cords, and who shortly begins to wield an unusual influence over the couple. York\u2019s performance of saucer-eyed enthrallment sets the unsettling tone of Skolimowski\u2019s eerie, hypnotic thriller, while the insinuating score by Tony Banks and Michael Rutherford of Genesis\u2014abetted by electronic music pioneer Rupert Hine\u2014adds another layer to the rich, menacing aural landscape of The Shout, a film that uniquely addresses the wonderful, terrible power of sound. \nFour Nights With Annadir. Jerzy Skolimowski, 2008, 87 min, 35mm\nSaturday, May 20 at 7:50pmTuesday, May 30 at 9:15pm\nMade after a 17-year hiatus following the unhappy production of Thirty Door Key (1991), Four Nights with Anna finds Skolimowski an artist rejuvenated, collaborating for the first time with wife Ewa Piaskowska. Set in Poland\u2019s rural northeast, the film follows Leon (Artur Steranko), a tongue-tied middle-aged mortician\u2019s assistant who, after serving a stint in prison for a rape he witnessed but did not commit, begins a strange ritual of visiting the victim, a nurse named Anna (Kinga Preis) as she sleeps. A mysterious, ascetic, nocturnal film, steeped in desire and guilt, which announced the beginning of Skolimowski\u2019s triumphant second act.\nMoonlightingdir. Jerzy Skolimowski, 1982, 97 min, Digital\nSaturday, May 20 at 3:15pmSunday, May 21 at 2:45pm\nInspired and outraged by the imposition of martial law in Poland in December of 1981, Skolimowksi, then living in London, offered an artistic response to events with the nuanced political allegory Moonlighting, starring a young Jeremy Irons\u2014in an early lead role\u2014as a Polish contractor in England working in imposed isolation with four other illegals to renovate a flat owned by a corrupt countryman. (In fact, Skolimowski\u2019s own London apartment.) A poignant, crushingly claustrophobic portrayal of the exile\u2019s twinned alienation from both homeland and a foreign culture. \u201cPossesses such clarity of vision and simplicity that it seems to have been made in one uninterrupted burst of creative energy. It\u2019s a small, nearly perfect work of its kind.\u201d\u2014The New York Times\n11 Minutesdir. Jerzy Skolimowski, 2015, 81 min, DCP\nSaturday, May 27 at 6:50pmMonday, May 29 at 5:10pm\nA virtuoso thriller with a wildly original structure, Skolimowski\u2019s film\u2014described by the director as \u201can answer to the Hollywood action movies\u201d\u2014is comprised of vignettes showing the same 11 minutes in the lives of a variety of different, mostly unrelated characters in contemporary Warsaw, among them a jealous husband, his actress wife, a lascivious hot dog vendor, a crew of paramedics, a sleazy small-time producer, and an elderly painter (Barrier star Jan Nowicki). These disparate slices of life find Skolimowski reflecting on the self-imposed surveillance state created by ubiquitous digital cameras, and which unite in an explosive climax at the end of the 11-minute countdown. \nEssential Killingdir. Jerzy Skolimowski, 2010, 83 min, DCP\nSunday, May 28 at 8:45pmMonday, May 29 at 6:40pmThursday, June 1 at 9:15pm\nA harrowing, relentless, and deeply ambiguous depiction of persecution and flight, Essential Killing stars Vincent Gallo as a man\u2014perhaps a Taliban soldier, perhaps just a patsy caught up in the overzealous global War on Terror\u2014shipped from Guantanamo to Eastern Europe, where an accident allows him to escape from captivity. Plunging into the snowy woods of Poland and fighting for survival, Gallo gives a feral and nearly wordless performance in a film that, in its focus on a protagonist driven hither-and-tither by events beyond their control, in many ways presages Skolimowski\u2019s EO."},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/newyork\/2023\/04\/24\/identification-marks-the-films-of-jerzy-skolimowski\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/newyork\/"},{"@type":"ListItem","position":2,"name":"Identification Marks: The Films of Jerzy Skolimowski"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/newyork\/#website","url":"https:\/\/instytutpolski.pl\/newyork\/","name":"Instytut Polski w Nowym Jorku","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6","name":"klaudia","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g","caption":"klaudia"},"sameAs":["http:\/\/lukasz.sienkiewicz@msz.gov.pl"],"url":"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/8330"}],"collection":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/comments?post=8330"}],"version-history":[{"count":32,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/8330\/revisions"}],"predecessor-version":[{"id":8639,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/8330\/revisions\/8639"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media\/8333"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media?parent=8330"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/categories?post=8330"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/tags?post=8330"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}