Ida

IDA

PG-13

2013, Drama, 1h 20m

96%

TOMATOMETER165 Reviews

79%

AUDIENCE SCORE10,000+ Ratings

WHAT TO KNOW

CRITICS CONSENSUS

Empathetically written, splendidly acted, and beautifully photographed, Ida finds director Pawel Pawlikowski revisiting his roots to powerful effect. Read critic reviews

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IDA PHOTOS

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MOVIE INFO

In 1962, Anna is about to take vows as a nun when she learns from her only relative that she is Jewish. Both women embark on a journey to discover their family story and where they belong.

CAST & CREW

Agata Trzebuchowska
siostra Anna, Ida Lebenstein
Agata Kulesza
Wanda Gruz
Joanna Kulig
piosenkarka
Dawid Ogrodnik
“Lis”
Adam Szyszkowski
Feliks Skiba
Jerzy Trela
Szymon Skiba

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CRITIC REVIEWS FOR IDA

Ida is not only an evocation of early ’60s Poland, the period of Pawlikowski’s childhood, but a film that gives the illusion that it could have been made then.

J. HobermanTablet

TOP CRITIC

Now that Paweł Pawlikowski’s haunting Polish film has been nominated for a foreign-language Oscar, Ida is back in the conversation. Let yourself be enveloped by a modern cinema classic.

Nestled within its sins-of-the-elders narrative is a faintly charming cross-generational bonding picture, pairing a worldly cynic with a young girl taking her last gasp of secular air before giving her life to the Lord.

A.A. DowdAV Club

TOP CRITIC

Trzebuchowska is certainly the film’s other great asset: all the performances are great, but she is not even an actress, having been spotted by a producer in a cafe and hired almost on the spot. You’d never believe it.

Pawlikowski has a photographer’s eye for composition, and every crisp, monochrome frame could be a postcard from Poland’s tragic, turbulent past.

With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.

An impressively directed and deeply moving drama anchored by a pair of terrific performances from Trzebuchowska and Kulesza.

Ida is one of those quiet, artfully crafted little masterpieces that goes unnoticed in the dead of the spring movie season. I haven’t seen anything this year that is lovelier. Don’t miss seeing this film in theaters.

A remarkably bold film that is taken in some courageous directions by Pawlikowski.

If life is made up of small moments, Ida is a full-length mirror.

Ida is permeated with such thick, dank sorrow that I began counting the number of times any character smiled. I had to open it up to “not explicitly frowning” before someone cracked the scoreboard.

Even if Ida is more admirable than it’s involving, there’s still plenty to admire.

AUDIENCE REVIEWS FOR IDA

  • Mar 31, 2017
    http://cinephilecrocodile.blogspot.co.uk/2017/03/ida-dir-pawe-pawlikowski-2013-i-have-to.html
    Anthony LSUPER REVIEWER
  • Feb 01, 2015
    Pawel Pawlikowski’s “Ida” is a deceptively complex, haunting film that places the personal story of a young woman against the backdrop of a moment in history when the legacy of the Holocaust was the elephant in the room and Communism was in the heat of its postwar spread. Anna (Agata Trzebuchowska) is an 18-year-old preparing to be a nun at the convent in which she was raised, when she is instructed by the Mother Superior to visit her Aunt Wanda (Agata Kulesza), who presently informs her that her name is actually Ida and that her parents were murdered during the Nazi occupation. This jump-starts the bleakest road-movie ever, economically shot by Ryszard Lenczweski in beautiful black-and-white and 1.37:1 aspect ratio, framing each shot carefully and precisely. At times, this method of photography can become distancing, but at its best it offers an objective window into the relationship between two women, one a world-weary cynic and the other a straight-laced conservative attempting to contextualize the horror and beauty of the world that she never quite realized. These two women are beautifully performed by Kulesza and Trzebuchowska, respectively, the latter a newcomer whose face is simply hypnotic, pulling the viewer into her journey. It’s a simple, unassuming and leisurely film, but one that rewards patience and, upon review, has quite a lot going on under its surface.

    Kyle WSUPER REVIEWER
  • Jan 05, 2015
    The Christian and Jewish belief systems are two very different ideals, and watching a woman raised as a nun, realizing she has a Jewish aunt was fascinating to me. The back and forth they share once Ida realizes she is a Jewish nun was very well-executed. At a mere 80 minutes, this film flies by quickly and you are sucked right in. I felt myself wanting more by the end, even though they wrapped it up perfectly. The film did not have to take the few dark turns that it did, but aside from those, this is a near perfect film. Simple and to the point is the best way to make a film sometimes. Well-written, well-directed, and extremely well-acted by it’s two leading ladies. With frames as uniquely and precisely shot as this film is, every shot counts in this picture, and I must say, “Ida” is a superb film.

    KJ PSUPER REVIEWER
  • Jan 02, 2015
    Set in 1960’s Poland, Ida follows a young, orphaned nun named Anna who is near taking her vows in her Catholic convent. However, prior to taking her vows, Anna is advised by her Mother Superior of an existing relative she must visit before taking her vows, as a form of familial closure. Anna then visits her only living relative, Wanda, who juxtaposes Anna’s innocent and reserved nature with her loud, drunken, and crude behavior. Anna is told of her true familial roots, learning that her real name is Ida Lebenstein and that she is, in fact, Jewish. Determined to trace back her lineage and find the graves of her family, Ida and Wanda begin a journey into their past, finding both beauty and heartache in their world set in the aftermath of the Holocaust. Presented entirely in black and white and shot with breathtaking artistry, Ida is a visually poetic masterpiece. Adata Trzebuchowska encompasses the role of Ida with, beauty, finesse, and a pure look of innocence as she begins to experience both the elegance and tragedy of the world for the first time. There is a deep internal struggle in Ida as she attempts to find her individuality through her lineage, her faith, and the nature of the outside world through her experiences with her aunt, and every emotion is felt and seen with subtly in Trzebuchowska’s actions and expressions. She is captivatingly delicate, even in her silence, as we try to decipher the constant ponderous look in her eyes. As a newcomer to Polish cinema, Trzebuchowska is mesmerizing and alluring every moment she is on screen, and she inarguably has an overwhelming amount of potential in her future cinematic endeavors.
    DA ZSUPER REVIEWER

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