Director and co-writer Pawel Pawlikowski follows up his 2013 Ida with another black and white masterpiece that looks at the personal tragedy of politics and war. Evoking the likes of Bergman, Bertolucci, and Felini, in the composition if not the story construction, Cold War examines where love fits into war and repressive society. Or it looks at the struggles of love with that as the metaphor…it really depends on how cynical you are.
Unlike Ida, this story is seen primarily through the perspective of Tomasz Kot rather than Joanna Kulig (Hanna), the strong woman at the center of the script. Using Kot as the story lens feels a little odd as Kulig drives most of the action; but it is more his story than in the end. And, despite the historical context, the story could easily have happened anywhere in the world. The film stays very focused on couple as their relationship ebbs, flows, and evolves. However, the struggles of Eastern Bloc politics provides some interesting historical insight and emotional tension without becoming the typical thriller.
One of the films greatest strengths, and conversely its weaknesses, is just how beautifully it is filmed. Much like Ida, every shot is gorgeously composed. So much so it is self-conscious, rather than the very real, open, and equally beautiful work done by its Oscar competitor Roma. That choice keeps you at a distance, making you consider the action rather than be absorbed into it. It works for the intent, but it makes it a little emotionally distant; more a painting to observe than a film to escape into. It is ultimately still very effective and well executed, but this self-conscious aspect may not work for some.