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We encounter Anna (Agata Trzebuchowska) in the very first shot of Pawel Pawlikowski’s Ida, and come under the influence of her arresting gaze. In this first glimpse of her, she’s studying a new statue of Jesus and dabbing paint on the face. It’s 1962, and Anna is a novitiate in a rural Polish convent, having spent virtually her entire seventeen or eighteen year-long existence in this largely silent, isolated environment as an orphan of undisclosed origins. Soon, her subdued aspect with its potentially intense gaze will have strange new things on which to focus.
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