‘EO’ Director Jerzy Skolimowski Interview On Poland Oscar Entry — Contenders International –

Polish teacher Jerzy Skolimowski is calling. EOWinner of the Cannes Film Festival’s Jury Prize and just this week the New York Film Critics Circle’s Best Foreign Film Award, “virtually a road movie” whose POVs of the titular donkey are “all of the filming and editing.” were influential factors.”

EO There is a vision of modern Europe seen through the eyes of a donkey, traveling through a world where destruction and despair are replaced by unexpected joy. From Sideshow and Janus Films, this is Poland’s entry in the Best International Feature Film Oscar race.


Comparisons are made with Robert Bresson’s 1966 study of the same animal species. Come Hazard Balthazar, Welcome some Skolimowski. During’s Contenders Film: International event, Skolimowski discussed the film’s profound impact on him.

“I was a young unknown filmmaker from Poland and suddenly I got a call from his boss. [prestigious film journal] Cahiers du Cinema“He said. “They wanted to interview me because they just made a list of the 10 best films of the year and to my surprise, my little Polish film. Walkover was in second place. Of course I was very happy, but I immediately asked who was number one and it was Bresson. Balthazar

Skolimowski immediately sought out and “loved” the film. But beyond its definition Balthazar And Bresson, “I had an absolutely extraordinary experience that I’ve never had before or since. When the movie was over, I found that I had tears in my eyes. I never cry in the cinema, not even one tear.” “Being somewhat cynical about watching movies, I found myself more interested in how it was done. But Bresson brought me up to the average spectator who went to the box office, bought a ticket, saw a movie and Finally found myself crying.


Taking a lesson from Bresson, Skolimowsky said, “An animal character can strike an audience more profoundly and somehow stronger than any human character who might be performing. … An animal doesn’t know the act, it doesn’t.” Know that they are acting. They are natural. They are there.


So, “Donkey d*ath inside [Balthazar] taught me the great lesson that I can take the risk of making a film with an animal character as a protagonist because it guarantees that the audience will believe, trust.

Did fighting the animals present a particular challenge that took the script in a different direction? Screenwriter Eva Piaskowski, who was also on the Contenders panel, said: “I think the meaningful difference between the script and the film is that we found out that we loved seeing the donkey so much that we basically cut out the human. Given more sections with each revision version.


Check back Monday for the panel video.

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