'After Image' shows the struggle of one man against a system. The man is Wladyslaw Strzeminski, a Polish avant garde painter, and the system is postwar communism. Slowly, we see the man being destroyed by the system. Witnesses stand by, but are unable to do anything. That's how powerful totalitarianism is: any opposition, even from a harmless painter, is crushed.
In the very first scene, we see Strzeminski in a beautiful green meadow, teaching his pupils how to paint a landscape. When a new pupil presents herself, he literally rolls down the hillside to meet her - in spite of his disabilities: he misses one leg and one arm. Strzeminski is happy and upbeat. During the film, this proud man slowly transforms into a human wreck. At the end, he is no longer able to stand on his feet, let alone roll down a hillside.
Bit by bit, the communists make his life impossible. In a visually stunning scene, all light in his apartment turns red, because of a giant Stalin banner which is attached over his window. Furious, because he is no longer able to paint in natural daylight, he tears the banner with one of his crutches. It's the start of a fight against the system that turns out to be futile.
Director Andrzej Wajda, who died last year, shows Strzeminski as a man who lives for his art, and for nothing else. Even his teenage daughter is forced to move to an orphanage, because he doesn't seems to be interested in raising her. Wajda shows Strzeminski's weaknesses, but also his opponent's doubts. Many of them somehow sympathize with him, but are unable to show support without risking their own position. An example is the manager of the local museum, who cannot display his paintings, but carefully keeps them in storage.
Parallel with Strzeminski's decline, we witness also Poland's transformation from a proud nation into a Soviet-dominated satellite state, where communist propaganda is everywhere and the quality of life deteriorates rapidly. In one scene, Strzeminski is turned down by a shop selling painting materials, because his membership of the artist's union is withdrawn. He hides his disappointment and takes his daughter to the cinema. But there he finds out he has to watch Soviet propaganda. Disgusted, he leaves the theatre.
'After Image' shows an important episode of Poland's artistic history. At the same time, it is a warning against any totalitarianism, and an ode to artistic freedom.
In the very first scene, we see Strzeminski in a beautiful green meadow, teaching his pupils how to paint a landscape. When a new pupil presents herself, he literally rolls down the hillside to meet her - in spite of his disabilities: he misses one leg and one arm. Strzeminski is happy and upbeat. During the film, this proud man slowly transforms into a human wreck. At the end, he is no longer able to stand on his feet, let alone roll down a hillside.
Bit by bit, the communists make his life impossible. In a visually stunning scene, all light in his apartment turns red, because of a giant Stalin banner which is attached over his window. Furious, because he is no longer able to paint in natural daylight, he tears the banner with one of his crutches. It's the start of a fight against the system that turns out to be futile.
Director Andrzej Wajda, who died last year, shows Strzeminski as a man who lives for his art, and for nothing else. Even his teenage daughter is forced to move to an orphanage, because he doesn't seems to be interested in raising her. Wajda shows Strzeminski's weaknesses, but also his opponent's doubts. Many of them somehow sympathize with him, but are unable to show support without risking their own position. An example is the manager of the local museum, who cannot display his paintings, but carefully keeps them in storage.
Parallel with Strzeminski's decline, we witness also Poland's transformation from a proud nation into a Soviet-dominated satellite state, where communist propaganda is everywhere and the quality of life deteriorates rapidly. In one scene, Strzeminski is turned down by a shop selling painting materials, because his membership of the artist's union is withdrawn. He hides his disappointment and takes his daughter to the cinema. But there he finds out he has to watch Soviet propaganda. Disgusted, he leaves the theatre.
'After Image' shows an important episode of Poland's artistic history. At the same time, it is a warning against any totalitarianism, and an ode to artistic freedom.