I had a near impossible time deciding which still was worthy of representing this film, because one frame fails utterly to justify its irresistible enormity. The Promised Land, a movie by venerable Polish artist Andrzej Wajda, will perhaps prove to be my last great discovery of 2018. I have both hunted and diverted it for over three years and finally settling down with it gifted me with a beautiful companion to my memory of seeing Theo Angelopoulos' The Travelling Players for the first time: Exhausted in the early hours of the morning and yet so utterly transfixed I could only do as much as blink. Wajda's film had me, hexed, and even now I am yet to be free from its spell.
Saturday, 15 December 2018
I settled down with Roma ecstatic to welcome a fresh modern classic and when the credits finally, indignantly printed onto the screen all I was left with was a desperate, consuming desire to seek out The Wild Pear Tree in the hopes that it would fill the vacant hole Cuarón’s ‘Magnum Opus’ had left in me.