The setting to this expert picture is Poland, 1990. In spite of the fact that socialism has fallen and another period of idealism is around the bend, the truth for four ladies is distinctive. A dark washed shading palette that takes its prompts from cigarette cinder and gloom recommends that any trust of self-satisfaction is probably going to be upset.
The gifted youthful essayist executive Tomasz Wasilewski has an eye for persuasive encircling and touches of silliness, both of which bring out the work of Austrian producer Ulrich Seidl. While every one of the exhibitions are solid, there are a few minutes that emerge: one is a moderate waltz, pregnant with implicit aching; the other a family dinner in which a relationship sections in a couple of coldblooded words. It’s an extreme watch, in any case, demoralizing contemplations that the nation’s new freedom may stretch out to sexual flexibility.