Identification Marks: None (1965)

Jerzy Skolimowski's Rysopis (Identification Marks: None) is an astounding 1960s film about malaise in contemporary Poland. This movie was released in Poland in 1964/1965 and the U.S. in 1968. I think what's so fascinating is that I just saw Ivan Ostrochovský's 2020 film Servants – a film that's also about 1960s Poland (and includes a scene in front of a military board that cites Skolimowski's film specifically) – but Identification Marks: None is so, so, so much better, despite being obviously made on a shoestring budget and without a cameraman half the time. This is a really stunning film. I have known nothing about Skolimowski until 2022's Io, but now (thankfully) every streaming service I get is showing Skolimowski movies, so I can watch a few.

Identification Marks: None is showing exclusively on MUBI.

Servants (2020)

Ivan Ostrochovský's Služobníci (Servants) is a gorgeously shot film about Catholic schoolboys resisting totalitarianism in 1980s Czechoslovakia. I don't know if it's because I (incorrectly) thought this was going to be a gay story, or because I really do not care about religious convictions, but I was bored. Sure, Ostrochovský's film is clearly inspired by the gorgeous spareness of Paweł Pawlikowski's Ida, and of course I adored that movie, but this film is all beautiful pictures without anything really to say. Central to this muddle is Servants' focus on the Communist operative who is killing the young men who are in the right, here. Why should the film focus on this character so much, examining his inner life? (He is played by Romanian film star Vlad Ivanov, and I'm glad they got such a great actor for this role, but... he's playing a terrible person, and the film isn't actually about him. This whole business is a confused mess. 

Servants was released in the U.S. in February of 2022, and it's currently playing on MUBI.