I don’t often wish that movies were significantly longer than they already are, but I think Cold War easily could have added another 20-30 minutes to its run time. And not in the sense where I just wanted to spend more time with the characters (although also kind of that). It’s because a scant 89 minutes didn’t feel long enough to tell this story in a fully satisfying way.
Following the “romantic epic” model, Cold War bounces between years and countries to tell the complicated love story of Wiktor (Tomasz Kot) and Zula (Joanna Kulig). But the story moves at such a clip that it’s not until the second act, taking place largely in Paris, where it feels like the film finally gets the space it deserves to let the story breathe.
Obviously it was Pawlikowski’s intention to present the story more in snippets or as fragments of a relationship. I’m just not sure I agree with him that that was the best way.
You may be surprised to learn, though, that my review of the movie is a positive one. The truth is that I liked everything else about the film so much that I still think it’s ultimately a success, and quite a visual achievement in particular. The black and white cinematography (as was the case in Pawlikowski’s previous film, Ida) is absolutely stunning, heightening the tension, longing, and volatility of many a scene.
The performances, too, are excellent. Kot is equal parts sadsack and dreamboat (to great effect), while Kulig deserves every word of praise she’s been getting for her turn. Zula is a fantastically complex and fiery character, and Kulig brings both the charisma and depth to carry her off perfectly. (I’ve been seeing a lot of Jennifer Lawrence comparisons, but there are many moments where she seemed to me the spitting image of a young Gena Rowlands.)
It was a thrill simply watching the central relationship play out. While I did feel the narrative structure made Cold War feel remote at times, ultimately the spirited performances and dazzling visuals brought it right back into the here and now.