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Without Anesthesia (alternative English title: Rough Treatment) is the English-language title for the Polish film Bez znieczulenia, released in 1978, directed by Andrzej Wajda. It was entered in the 1979 Cannes Film Festival. [1] According to the screenplay, Without Anesthesia takes place in the 1960s.
According to Guy Lodge of Variety, the film is "[a] moving but somewhat congested", [13] while Keith Uhlich of The Hollywood Reporter described Leave No Traces as "Too torturous by half". [ 14 ] While attending film's Venice screening, Deadline Hollywood ' s Valerie Complex wrote that " Leave No Traces often feels formless and unremarkable".
All Friends Here (Polish: Sami swoi, literally "only our own"), also known as Our Folks, is a 1967 film, and a first part of a Polish comedic trilogy of movies by Sylwester Chęciński. Its follow-ups are Nie ma mocnych (a Polish idiom meaning "no one can do") (1974), Kochaj albo rzuć ("Love or Leave") (1977), and Sami swoi.
No End (Polish: Bez końca) is a 1985 film directed by Krzysztof Kieślowski and starring Grażyna Szapołowska, Maria Pakulnis, and Aleksander Bardini. The film is about the state of martial law in Poland after the banning of the trade union Solidarity in 1981. [1] Kieślowski worked with several regular collaborators for the first time on No End.
Tadek returns to his sister Anka's home to find solace and affection, and together they must find a way to break free from a shared and painful past. Cast [ edit ]
Train Without a Timetable (Serbo-Croatian: Vlak bez voznog reda) is a 1959 Yugoslav film directed by Veljko Bulajić. It was entered into the 1959 Cannes Film Festival . [ 1 ] The film was also selected as the Yugoslav entry for the Best Foreign Language Film at the 32nd Academy Awards , but was not accepted as a nominee.
The Sun in a Net (Slnko v sieti, also translated as Sunshine in a net or Catching the sun in a net [1]) is a 1963 film that became a key film in the development of Slovak and Czechoslovak cinema from the mandated Socialist-Realist filmmaking of the repressive 1950s towards the Czechoslovak/Czech New Wave and socially critical or experimental films of the 1960s marked by a gradual relaxation of ...