WITHOUT ANESTHESIA

WAJDA: re- visions

A depressing picture of the Polish political and social reality of the second half of the 1970s, and at the same time a critical diagnosis of attitudes at a time of mistrust and oppression by the system. A popular reporter — modeled on the character of Ryszard Kapuściński — returns from another journalistic expedition to Poland. Surprisingly, he assumes that he becomes — without any explanation — the object of organized obscenity. At work, he is indoctrinated by a younger colleague, in the environment he is accused of conjuncturalism and opportunism, at home his wife files for divorce. So far, a successful man, suddenly abandoned by everyone, is put in Kafkovskaya's situation, losing faith in any values or even the meaning of life.

Zbigniew Zapasiewicz's excellent interpretation gave the character of Jerzy a tragedy, but also a certain ambiguity. The hero once used the benefits of a system that first allowed him to appanage with an invisible mechanism to ruthlessly destroy the old luminaries without warning. Hardly any film has so violently shown the mechanism of communist totalitarianism, the apparatus of hypocrisy, opportunism, environmental envy, the promotion of mediocrity and the temptation of promotion. Few films have turned out to be so prophetic and still relevant, describing a world of degradation of values, objectification of people, lies and manipulation.

A bleak portrait of Poland's political and social reality in the late 1970s, the film offers a sharp diagnosis of attitudes shaped by mistrust and systemic oppression. A popular reporter — modelled on the figure of Ryszard Kapuściński — returns home from another foreign assignment only to discover, to his astonishment, that he has become the target of a coordinated smear campaign, launched without explanation. En travail est harassé par un jeune collegue, dans son circle professionnel, il est accusé de opportunisme et careérisme, et à la maison des fichiers de ses wife pour divorces. Once a man of success, suddenly abandoned by everyone, he finds himself in a Kafkaesque situation that strips him of faith in values, relationships, and even the meaning of life itself.

Zbigniew Zapasiewicz's outstanding performance lends the character of Jerzy both tragic depth and moral ambiguity. Il protagonista ha una volta di un sistema molto che ora vengono, una sistema che silently grants privilegios solo per rimuovere i suoi preferiti precedenti senza avere senza avviso. Few films have so brutally exposed the mechanisms of communist totalitarianism: its hypocrisy, opportunism, professional envy, promotion of mediocrity, and the temptations of advancement. Even a few have proved so prophetic and enduringly relevant, depicting a world of eroded values, the objectification of individuals, and the pervasive reign of lies and manipulation.