1. postmodern masterpiece
Love - the most worn and faded about today's culture. Przewakowany in all possible ways,
by all possible genres. The title of "Big Love" herald revealing anything, apparently, can not.
But that should not be subject to appearances, author of the film convinces us Biaows
Barbara, a young Polish director, graduate of cultural studies, film studies and directing.
Theoretical preparation at the highest level, they admit. Translating this knowledge into
practice falls equally impressive, but also requires the viewer a little more activity and
intellectual contribution during the reception of the film. "Big Love" because the image is
multifaceted and complex.
Decorated in a postmodern climate, because in today's pop culture, or no longer work. The
director, however, offers us an interesting ploy by injecting into his classic work of modern
conventions, Travestying famous scene recognized artists. The eclectic style provides us
with a spectacular mix of "dresiarskiego" and the impressive theater and absolutely timeless
design drawn, even from the French New Wave. "Big Love" deconstructs different formulas
cinematographic, Barbara Biaows consciously plays with kitsch and makes fun of our habits.
Her courage and innovative look, make someone unconscious, carelessly could be attributed
to some more experienced movie makers, for example. AlmodóvarowiPedro Pedro
Almodóvar.
Every shot, every camera movement is considered and is part of a top-down thought-out
convention. And what is a Convention? Precise image analysis allows us to note that this is a
treatise on the film in a film within the film. We can clearly see that there are moments when
the director, in an evident and przeestetyzowany it relates to such films as "Bitter Moon",
"Requiem for a Dream" and "Natural Born Killers". Polemic author of "Big Love" with the
values provided in these images is the key to interpreting the Convention and signpost how
to receive and interpret the movie. Biaows referring to some well-worn cliches and patterns,
breaks stereotypes and breaks with the existing myths about love in the cinema. Broadens
our view of love and feelings of dependence in the postmodern world. Take for example the
scene in which the main characters, Emily and Maciek sitting on the windowsill with his back
to the camera. This is an obvious flirt with kitsch and banality, an attempt to filter the
somewhat outdated rhetoric of Jean-Luc Godard's "My Life to Live." Plastic and exaggerated
images visible through the window is an obvious signal from the director that this should not
be taken seriously, it is an attempt to discuss some of the beaten templates. Deviation from
this path of interpretation can bring us astray and make not perceive the true value of the
film. Bravado director, semantic and formal experiments, the film packed with quotations from
classical works, bold play with plastic film in relation to content and popular topics. All these
elements define the limits of the artistic vision of the creator of the film and provide the basis
for its reception. EXAMPLE another. The scene when Emily Maciek and run along the pier is
a reference to François Truffaut and "Jules and Jim". A new look at the classic vision of love,
loss and her desperate quest for affection. The author, as befits an educated person knows
the theory of cinema and its history. He knows how to turn this theory and bend it to their
purposes.
filmfunbox
Forest us eye, giving signals that it is worth traced to the film hidden content. His style

2. impresses copyright stamp on the music layer. Totally alternative music very well known
bands niche breadth of vision reveals the director. Elstad, Loco Star, Asgard - definitely more
underground sounds reflect the atmosphere of the film and used for promotional theme song,
performed by Ada Szulc, can not serve as an argument to tabloidisation the whole picture
and pressing it into the framework of pop culture mash. And such a mistake can make
anyone who does not watch the film with sufficient attention and will catch all the flavors and
symbolic references. I would recommend the session to repeat two or three times to become
better acquainted with what the author has to provide and understand the message of the
film and its Convention.
Without this, watching pointless. Under the slogan "words, words, words, theory, theory,
theory" (brought out by the same author), every shot, every look of the camera is important
and carries a deeper meaning. Behold therefore carefully because such a film still in the
Polish cinema was not! .