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Finally, national excitement, tinsel and sheep's drive (drive?) Associated with the film "Lejdis" have subsided. Finally, you can be tempted to objectively review, without risking the accusation of gloomy, backwardness, humiliation of "what Polish" and other such insults. After all, we like roman (thism) se and martyrdom the most, but we don't like it loudly. So we have four friends (Łucja, Korba, Gośka, Monika) who know each other since their childhood and their life problems. Each of them has some dreams, whether it is personal appearance (such as boobs enlargement) or future partner (finding a husband), or focusing on the present. So everything and nothing. And here is the dog buried.

Konecki and Saramonowicz once try to take on a purely slapstick comedy, after which they jump to the family drama, interweaving it with the issue of sexual identity (if it is to break the taboo, then let homosexuality taboo in Polish cinema remain better). The inconsistency, and even ignorance, with which a pair of directors build subsequent scenes, flattens all the topics discussed and is not so much distasteful as it is simply dangerous. Drawing on a pattern from underdeveloped American romantic comedies and native TV series / soap operas, they form a fair for metropolitan audiences. "Lejdis" puts a bridge between the form that a feature film should have with the style of television productions. An inattentive viewer will not pick up this difference, hence the danger of (not a trivial matter) the autonomy of cinema. top streaming sites It cannot be that the minimalist tastes of viewers will shape demand, subordinating the X muse to itself. If "Lejdis" remained at the level of unpretentiousness, for which you could like "Testosterone", I would not cling to and expect too much, but here you can see the out-of-posture attitude of the artists convinced that the characters they create have a faithful reflection in reality. Primo: the image of liberated women. Like Korba is aware of her sexuality and independence from men, like such a hard art, but in fact she is a sheep in wolf's clothing looking for true love (character profile like from the textbook: "Become a good psychologist"). Secundo: homosexual thread.

Artur (Piotr Adamczyk), husband of Gośka, sometimes he is straight, sometimes homo. When he is straight, he walks happily and passionately cooperates with his wife, when he is homo, he cries and benefits in front of himself and everyone around him - a caricature full of mouth. Tertio: combining species. It is absolutely unknown why the theme of the illness of the father of one of the heroines is introduced and an attempt to make this quiet drama. Against the background of the whole, it looks at least bizarre, giving the issue of transience a telenovela form (such as "life is cool, but be careful, because you can get seriously ill in old age") turns it into a casual petty. The role-playing infantilism along with the typical Polish phrase "everything will be all right" gives a staggering effect - here's the script trash filled to the brim filled with clichés, stereotypes and glamor-style jokes.

Admittedly well played (Więckiewicz is a real actor's chameleon) and having several funny dialogues, but reminiscent of a popcorn-laden multiplex. One could still "score" Konecki and Saramonowicz's film (director and screenwriter, respectively), but this is pointless. Their latest product shows what cinema looks like on the Vistula. Either you make mass-oriented romantic comedy or drama (aka hagiography) about how much our esteemed nation (aka outstanding individual) suffered ("Katyn"; "Karol - the man who became Pope") and ...

how he still suffers (see: movies shot in Silesia). It is a pity that cinema fans suffer the most.