The roles have been reversed for Julia Brystygier (Maria Mamona), the once powerful colonel in the Ussr’s Ministry. She interrogated countless enemies of the state, namely Catholics who rejected the communist concepts ruling them. The human body was her canvas, torture her paintbrush — nothing was out of bounds as far as acquiring the information she sought. But that was years ago. Now she’s a private citizen like the masses trying to survive. A lucky one too considering many of her superiors during that period are now in jail or dead for the crimes they committed. Julia’s prison is therefore self-imposed. Where confidence and control used to reside is now only fear, guilt, and regret. Her solitary hope for salvation becomes forgiveness from a God she doesn’t believe exists.
Ryszard Bugajski‘s Zacma: Blindness opens on an empty apartment, phone incessantly ringing to cut through the silence.
Ryszard Bugajski‘s Zacma: Blindness opens on an empty apartment, phone incessantly ringing to cut through the silence.
- 9/9/2016
- by Jared Mobarak
- The Film Stage
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