Polish cinema, veteran directors like Andrzej Wajda have been able to convey messages of trauma, disillusionment and fatality. Wajda is arguably one of the most important filmmakers of Poland, who etched his country’s history on the silver screen. The emergence of a state owned film industry through communism was perhaps one of the most significant changes to Polish cinema. Despite the possibility of censorship stifling all kinds of creative expression, Wajda was able to produce groundbreaking films
hovering over the three characters. The camera manipulations begin right away in the film and proceed till the end with the characters and their settings as the only focus. The audience first views the relationship of the married couple, Krystyna and Andrzej through an unclear car windshield, reflecting the vast empty trees around them. Because of this lack of insight into the opening scene, the audience can only assume the two are a couple by their closeness shown in the car, although it seems to be
Polish directors Andrzej Wajda and Agnieszka Holland both make use of silence in their two films, Katyn (2006) and Angry Harvest (1985) to highlight emotion, as well as conflict. They as well share in their depictions of authority, best expressed in Katyn with Nazi and Soviet rule, and in Angry Harvest with Leon exerting sexual control over Rosa. The setting of World War II allows the directors to incorporate such themes as well as portray the physical and psychological aspect of people of the era
Shakespeare’s ultimate goal was to resonate with his audience by using his creative and artistic talent. Kurosawa’s Throne of Blood is deemed worthy of keeping this spirit of Shakespeare alive. Kurosawa took the main themes and ideas of Shakespeare and interpreted them in such a way that made it the great film it is today. Kurosawa’s Throne of Blood is the better adaptation of the Tragedy of Macbeth for the fact that the play was altered into feudal Japanese culture. The average audience of Throne