The author of this article tries to explain why the controversial film Róża by Wojciech Smarzowski was well received by the wright-wing media which recognized other historical films from this period, such as Ida by Pawel Pawlikowski and Aftermath by Wladyslaw Pasikowski, as anti-Polish and even harmful. The author examines three aspects of the film: whether it is actually anti-Polish, anti-Soviet or maybe pro-German. At the end she reveals the director’s strategy which allowed to avoid the dispute over the misinterpretation of historical events.
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