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Very disappointing...

In truth, there is barely enough story here to make a film.

This movie was so-so. It had it's moments, but wasn't the greatest.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Like it or not, this movie is hell of a ride! Movie opens with a train travel. Passengers seem like dead. A bit later we found out that a son goes a visit to his dying father to a sanatorium, where time ticks differently. His father is dead and not dead at the same time, doctor tries to save him by playing with time. Son seems did not understand what's going on. Doctor advises to sleep and son sleeps. Or doesn't he? At this point everything goes up and down. You can go to a town just simply going under the bed or there might be a town center in your basement. Movie goes through times/places/memories. We follow teenage fantasies, books, women, birds, mannequins... Movie is hard to follow and there are lots going on, but with a style. Director did a wonderful job at picturing scenes. Cinematography are over the top. Acting are flawless. Movie is funny, mysterious, scary and sad at the same time. If you haven't seen this gem yet, which is most likely, give it a go. This will be a different journey at least.

At the day of writing this, the great Chilean filmmaker Raoul Ruiz passed away. This is dedicated to him - a film, I like to think, he would have loved.This is an exceptional film that I will cherish for a number of reasons. It's the kind of film I'm looking for, that places consciousness within itself to give us actual in-sight of our place in the world of narratives.For afar, it is a little like Jodorowsky; the heavy, symbolist system visualized inside a cacophony. But it ventures freely beyond the threshold where Jodorowsky (and most filmmakers) barely fumbled; it is a story about unconscious stories about the broader metaphysical narrative from which they flow and illustrate. It begins with the promise of a journey, a common motif in early myth; a man's symbolic descent in the underworld in search of his father. But a little preamble. The narrative of the understanding is one after you abstract. It has been fractured from the one into many, according to the provincial peculiarities of human experience, yet taken together each of the symbolic motifs or shadowy shapes that comprise it, insinuate the same fabric of the experienced world. The same images, the same narratives, seem to bubble forth in almost identical repetition, as though something in the soul calls out for them.Two observations further elucidate this. In the places that ancient cities were built like temples, with clearly defined pattern that reflected above (usually in circles), denizens lived within the dimensions of their symbol. They were situated directly inside the blueprint of their cosmology, one they had constructed to reflect the cosmos.The reverse of this is the mandala of the Buddhists, as sacred space for the concentration of the mind. The image was not the painted sum of its counterparts, but a way of passage. Meditations practiced on this symbol are directed from the symbolic world into the world at large; so that, outside the temple, the entire world becomes a support for meditation. On a deeper level, both these describe the same thing; the spiritual effort of aligning a center inside with something outside, so that the cycles of life become one. Can we say this is the forgotten knowledge? Modern life is scattered in the chaos of ever-changing peripheries. We build - and live - in random.So this is what the filmmaker does. Our man, having embarked on his inner journey, is constantly frustrated by the apparent randomness of the world he participates in. He turns for guidance to a child, an inner child who is his heir in the dreamlike underworld, holding a book filled with stamps about places - a book of names and forms that symbolically encompasses the totality of the catalogued world; but there is no answer there, meaning another world extends from our catalogue of it which cannot be fully accounted for.From inside his limited perspective in the fictional world, the protagonist is baffled, exasperated for meaning. But we, observing from a vantage point, can recognize first pattern, and then that the protagonist, who seems to himself to be a hapless stooge, to be the one creating the narrative.It is stunning stuff if you contemplate it a little. There are, of course, the notions about nested stories. The journey that transports across different levels of symbolic life; there is the place where history is a gallery of the pliable, lifeless mannequins of famous persons; elsewhere, language is shown to be the random teetering of birds. Above all, there is the world, the space of human experience limited by reason; our symbolic translation in terms of a graven image, passage for meditation; our understanding of the image as applicable to both the personal and cosmic cycles (being-nonbeing, light-dark) and the meaning of those cycles within the larger cycle of sentience that observes them; and finally, the threshold once crossed and returned from, the unbound sentience now effortlessly understands all these things to be emanations of the one source.Having aligned all these cycles, the film is - at every point - at the center of each and all. A beautiful thing.

Wojciech Has must have created one of the most unique and enigmatic movies I've ever seen. Inspired by Bruno Schulz' novel, Has invites the viewer to journey with Jozef to a decrepit sanatorium where his father is living. But it doesn't take long for the viewer to realise the journey isn't taking place in any definitive place or time. The sanatorium is a cobweb-filled, deserted, wasting place where only a nurse and a doctor work.As Jozef arrives, he finds his father living in a sort of animated suspension. He should be dead, the doctor tells him, but time in the sanatorium works differently. And Jozef soon realises just how differently. The story begins to move from place to place and time to time randomly. Jozef can find himself crawling under a bed in his house only to come out somewhere else.The movie is full of fascinating and creepy imagery. There's a great sequence in which Jozef visits a room full of mannequins that come to live. At another time, he's surrounded by men dressed as birds. The art direction and settings are beautiful throughout the movie, possibly the most intricate ever brought to a movie. Everything has a feeling of decadence, of a world where mankind stopped living a long time ago. In a way it seems Jozef is just a dead soul reliving parts of his life and all time and space are unified in this place of memory. Maybe. This is the type of movie that doesn't offer one single interpretation. But trying to make sense of it is part of the fun.

Based on a story collection of the same name by Bruno Schulz, who was shot by the Gestapo in 1942, this movie is one of the rare cases of a congenial adaptation of modern fantastic literature. It's a demanding movie and it is impossible to extract something like a plot line. There are various changes in between time and space, but once you get involved with the narrative, they seem perfectly logical. Also, there are many highly impressive sequences and settings - i have read somewhere (i can't give no reference right now, sorry) that it was the most expensive movie ever made in Poland, and maybe it still is. It certainly is one of the best. And, by the way, there is one scene with a room stuffed full of mannequins that looks like an inspiration to a similar sequence in Ridley Scott's "Blade Runner", which is a great movie of its kind, but was made some years later and did much better at the box office.