Filmowe powidoki Andrzeja Wajdy

 ANDRZEJ WAJDA'S AFTERIMAGESThe text: Andrzej Wajda’s Afterimages is an analysis of the last film made by the creator of Ashes and Diamonds. This motion picture is a film vision of the last years of Władysław Strzemiński’s life. Strzemiński was an outstanding Polish, avant-garde artist, destroyed by the communist authorities in the 1950s. The situation of the artist in the trap of enslavement is transferred by Wajda into his film, and into the figure of Strzemiński himself — created by Bogusław Linda — who becomes a “medium” throughout Wajda talks about himself — both as a human and as an artist. Thanks to this specific autobiographical perspective, Wajda’s film becomes a deeply original statement, in which we find not only Wajda’s way of seeing human being, the world and the art, but also a description of his tragic situation from the very beginning of his artist’s life and work. Situation which had been projecting on his future existential choices and artistic decisions. Not only Strzemiński’s character, but also his theoretical work — famous, unfinished book The Art of Vision becomes close to Wajda, who adopted the painting theory of the creator of unism for his own film practice. And this “theorethical” practice is also evident in the Afterimages. ]]>ANDRZEJ WAJDA'S AFTERIMAGESThe text: Andrzej Wajda’s Afterimages is an analysis of the last film made by the creator of Ashes and Diamonds. This motion picture is a film vision of the last years of Władysław Strzemiński’s life. Strzemiński was an outstanding Polish, avant-garde artist, destroyed by the communist authorities in the 1950s. The situation of the artist in the trap of enslavement is transferred by Wajda into his film, and into the figure of Strzemiński himself — created by Bogusław Linda — who becomes a “medium” throughout Wajda talks about himself — both as a human and as an artist. Thanks to this specific autobiographical perspective, Wajda’s film becomes a deeply original statement, in which we find not only Wajda’s way of seeing human being, the world and the art, but also a description of his tragic situation from the very beginning of his artist’s life and work. Situation which had been projecting on his future existential choices and artistic decisions. Not only Strzemiński’s character, but also his theoretical work — famous, unfinished book The Art of Vision becomes close to Wajda, who adopted the painting theory of the creator of unism for his own film practice. And this “theorethical” practice is also evident in the Afterimages.]]