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Poland, 1962. Anna is a novice, an orphan brought up by nuns in a convent. Before she takes her vows, she is determined to see Wanda, her only living relative. Wanda tells Anna that Anna is Jewish. Both women embark on a journey not only to discover their tragic family story, but who they really are and where they belong, questioning their religions and beliefs.

Actors: Agata Trzebuchowska , Agata Kulesza , Joanna Kulig , Dawid Ogrodnik , Adam Szyszkowski , Jerzy Trela , Artur Janusiak , Dorota Kuduk , Halina Skoczyńska , Natalia Lagiewczyk
Directors: Pawel Pawlikowski
Release: 2013-10-25
More Info:
  • Peter Travers

    Ida is an art film in the finest sense of the term — it is austere technique counterbalanced by emotions that bleed.

    Rolling Stone Full Review
  • David Denby

    This compact masterpiece has the curt definition and the finality of a reckoning—a reckoning in which anger and mourning blend together.

    The New Yorker Full Review
  • Steven Rea

    A road trip at once tragic, hopeful, and unforgettable.

    Philadelphia Inquirer Full Review
  • Walter Addiego

    Ida is a rarity, a film both intensely grounded in painful historical reality and genuinely otherworldly.

    San Francisco Chronicle Full Review
  • Bill Stamets

    Ida reaches spiritual depth through affecting performances rendered in sublime black-and-white compositions.

    Chicago Sun-Times Full Review
  • Michael Phillips

    One of the year's gems.

    Chicago Tribune Full Review
  • Kiva Reardon

    Favouring long takes over didactic scripting, Pawlikowski lets his powerful imagery carry the film.

    The Globe and Mail (Toronto) Full Review
  • Greg Cwick

    Pawlikowski doesn't punish his viewers, he simply challenges them. Take the vow to dedicate your attention to Ida and you’ll be rewarded deeply.

    indieWIRE Full Review
  • Dana Stevens

    There’s an urgency to Ida’s simple, elemental story that makes it seem timely, or maybe just timeless.

    Slate Full Review
  • Godfrey Cheshire

    Riveting, original and breathtakingly accomplished on every level, Ida would be a masterpiece in any era, in any country. Full Review
  • Kenneth Turan

    Spare, haunting, uncompromising, Ida is a film of exceptional artistry whose emotions are as potent and persuasive as its images are indelibly beautiful.

    Los Angeles Times Full Review
  • A.O. Scott

    There is an implicit argument here between faith and materialism, one that is resolved with wit, conviction and generosity of spirit. Mr. Pawlikowski has made one of the finest European films (and one of most insightful films about Europe, past and present) in recent memory.

    The New York Times Full Review
  • Joe Morgenstern

    Pawel Pawlikowski's Ida, a compact masterpiece set in Poland in the early 1960s, gets to the heart of its matter with startling swiftness.

    Wall Street Journal Full Review
  • Todd McCarthy

    Frame by frame, Ida looks resplendently bleak, its stunning monochromes combining with the inevitable gloomy Polish weather and communist-era deprivations to create a harsh, unforgiving environment.

    The Hollywood Reporter Full Review
  • Peter Rainer

    What comes through so powerfully in this movie is a portrait of an entire generation making its way from death throes to new beginnings.

    Christian Science Monitor Full Review
  • Bill Goodykoontz

    Spare, haunting and in its own way beautiful, Ida is an absorbing film about discovering the truth, and the attendant price we pay to learn it.

    Arizona Republic Full Review
  • Andrew O'Hehir

    What makes Ida remarkable is how much Pawlikowski is able to accomplish in just 80 minutes, with a pair of mismatched female characters, a handful of wintry and desolate locations, the square-format cinematography of Ryszard Lenczewski and Lukasz Zal, and a soundtrack that combines modernism, Soviet-bloc pop music and a haunting performance of John Coltrane’s “Naima” that seems to capture all the emotional possibilities the characters cannot express. Full Review
  • Aaron Cutler

    Ida unfolds partly as chamber play and partly as road movie, following the two women on a search for their dead beloveds' anonymous graves.

    Village Voice Full Review
  • Marjorie Baumgarten

    There’s a definite austerity to the storytelling, which is enhanced by the crisp black-and-white cinematography by Łukasz Żal and Ryszard Lenczewski.

    Austin Chronicle Full Review
  • Ty Burr

    The first three-quarters of Ida are as astonishing as anything you’ll see at the movies this year.

    Boston Globe Full Review
  • Farran Smith Nehme

    Both actresses are extraordinary, but Kulesza — bitter, sarcastic and tragic — carries the movie’s soul.

    New York Post Full Review
  • A.A. Dowd

    Over an efficient 80 minutes, no shot feels wasted, and no one says much that couldn’t be better communicated through their placement in the artfully arranged frame.

    The A.V. Club Full Review
  • Jessica Kiang

    If it does suffer slightly from an overall lack of urgency that will mean those looking for a more directly emotive experience may find it hard to engage with, the more patient viewer has rewards in store that are rich and rare indeed.

    The Playlist Full Review
  • Marc Mohan

    Just as austere and demanding as you'd expect a black-and-white film about a Polish nun to be. Don't let that scare you, though.

    Portland Oregonian Full Review
  • Tom Huddleston

    Pawlikowski’s film may be bleak and unforgiving, but it’s also richly sympathetic and deeply moving.

    Time Out London Full Review
  • David Hughes

    Pawlikowski has a photographer’s eye for composition, and every crisp, monochrome frame could be a postcard from Poland’s tragic, turbulent past.

    Empire Full Review
  • Mike Scott

    Agata Kulesza is pitch-perfect as the tortured aunt, weighed down by years of shame and sorrow. In a quieter but equally impactful role is newcomer Agata Trzebuchowska as Ida, a character defined by a quiet, rigid stoicism but who, with her cherubic face, engenders great empathy.

    New Orleans Times-Picayune Full Review
  • David Edelstein

    The movie’s chill is hard to shake off. It’s a grimly potent portrait of repression, of what happens to a society that buries its past in an unmarked grave — and lives its present in a state of corrosive denial.

    New York Magazine (Vulture) Full Review
  • Joe Neumaier

    Ida is photographed in gorgeous black-and-white cinematography. A deep focus allows every corner of the simple, serene compositions to be seen clearly. The economy of story and dialogue extends to the running time — at barely 90 minutes, the movie feels full, yet free of excess.

    New York Daily News Full Review
  • Scott Tobias

    Ida’s piercing intimacy makes the deepest impression, but its vision is deceptively wide-reaching despite a scale that’s deliberately pared-down and small.

    The Dissolve Full Review
  • Peter Bradshaw

    Every moment of Ida feels intensely personal. It is a small gem, tender and bleak, funny and sad, superbly photographed in luminous monochrome: a sort of neo-new wave movie with something of the classic Polish film school and something of Truffaut, but also deadpan flecks of Béla Tarr and Aki Kaurismäki.

    The Guardian Full Review
  • Ann Hornaday

    Each and every detail accrues to create a vivid, unforgettable portrait, and all are absorbed and reflected by Anna, portrayed by Trzebuchowska with the transparency and wonder of a woman for whom not just history but secular life itself is almost totally abstract.

    Washington Post Full Review
  • Chris Nashawaty

    With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.

    Entertainment Weekly Full Review
  • Chris Cabin

    Pawel Pawlikowski shows great empathy toward the idea of illusions as a way of attaining emotional stability in even the most brutal terrain.

    Slant Magazine Full Review
  • Peter Debruge

    It’s one thing to set up a striking black-and-white composition and quite another to draw people into it, and dialing things back as much as this film does risks losing the vast majority of viewers along the way, offering an intellectual exercise in lieu of an emotional experience to all but the most rarefied cineastes.

    Variety Full Review
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