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Village in Poland, a village bumpkin and taciturn, Okrasa Leon falls in love with a nurse seated in front of his house and he had been accused 4 years ago wrongly, to have violated. In this frame both poetic and realistic, the filmmaker weaves a story of extreme delicacy and refinement of extreme tenderness for his characters immersed in a world of sinister and violent. We live in a universe near Keslowski Pialat and, closer to the bitterness of men and landscapes, as close as love, conversion, redemption. We follow the path that makes every night Okrasa to enter the room of the woman he had long contemplated his filthy barn, this same woman who had plunged, unwittingly, in prison violence and absurd horror his accusation. The film is made, we suspect, this dialectic of opposing worlds: an opposition between the world's violence in which two living beings who have suffered in the flesh breaking into their privacy, these landscapes of violence claims, bleak, as survivors of a disaster that has banished all tenderness, all sweetness and landscapes of the soul. Thus there are two worlds in the movie: the scenery, the daylight, which seems to throw light on the dirty world of a long winter, the buildings are former kolkhoz, dripping with grime as sprung from the dark night of primitive humanity and surviving the barbed wire that surround the homes, the poverty of these wetlands and dilapidated barns, contending the presence of objects, and in the midst of all this, Anna's room, another universe in which the character of Leon as she plunges asleep, stunned by the sleeping powder that has slipped into his box of sugar. We meet with him, this man rough and hurt, in a kind of lush sweetness: the objects in it and was strongly contrasted with the usual universe of male character: everything is feminine, a quilt on which he lays his cheek, in a perfectly round and shiny of its luster of flesh in the night, he stroked a cat and with whom he even tried to dance, a Swiss clock, a manicure with which he coated the fingers of this beloved woman while she sleeps. In one of the most beautiful scenes of the film, we see Okrasa during the third night, he is inside the room and suddenly a tremendous uproar takes place, the crashing noise of a helicopter emerged from nowhere, the shrill sirens, all this aggressive sound of the police. Anna wakes up and Okrasa hiding, it does not seem to realize what was happening outside, she is too stunned to ask questions. It will then wash your face at the sink and there she discovers that the diamond ring lovesick had bought for her with his severance pay. She contemplates the ring length, then returns to bed, still impervious to the deafening noise outside, fully object-oriented for it arose from nothing overnight. Skolimowski embroider at will on the opposition of the beast and the beauty, the sweetness and violence, beauty and ugliness, darkness and brightness: In another scene, we see that pours Okrasa sugar in his coffee or tea, he put two spoon, but after a look pensive and tender, it adds another to imitate his sweetheart who is used to put three in his cup. Mimetic gesture that plunges us into silence in the soul of this taciturn man in the depths of tenderness and humanity it contains.
The film is also at the junction of social realism and universal tale. The filmmaker because his film in a very material, very accurately marked: these barns, these dilapidated houses and the whole village is the survival of the communist world, as are former collective farms mostly recycled administrative centers or hospital as one where Anna works. There is in the film chronicles the post-communist Poland, where some misery reign, which seems to be left outside of modernity, as absent the course of history. It seems that all these people remained in the same prison world in which communism had locked up. Indeed, the very last frame of the film is that of a wall. The wall is still there, the filmmaker seems to scream, but its borders have changed, they are no longer that of the East and West, nor those of capitalism and communism, they are inside land, spirits, social lines.
Yet this social chronicle of the new Poland is also a universal tale, which certainly fits in the materiality and contingency of space-time social framework, while referring to something more abstract. Everything seems to arise rather sinister village in the Middle Ages, the main character is the incarnation at the beginning of the film, the figure of the hideous monster, it looks like a tidal wave of humanity consciousness, one of those Dickensian in which Men bear the traces of their downfall. The director would also have border on cliche, as its universe of aesthetic connotations and marked social, but he avoids black humor very squeaky, by its reliance on findings of scenarios both sinister and funny, by way of subverting the anxious expectation of the viewer.
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