Pawel i Wawel

Apparently, Krzysztof Kaczmarek enjoys covering his tracks, of which there are many. The cultural track: a touring festival of Polish cinema set up by himself in Iceland and entitled “What is the difference between Pawel and Wawel?”. The geographic track: Iceland and Poland united in a road movie through magnificent landscapes. The musical track which makes singing the raw material, substitute for spoken words in this film where it is used with parsimony. Yet intertwined these tracks only serve the comedy of the meetings as repetitive as they are unpredictable. Amongst which a Viking listening to Wagner, a choir of Polish nuns, beatboxers in the high season under the trees, a singing dog, and many others. Sketching a fragmented world where the absurd has taken up the reins while the tour slowly moves on. A burlesque and distanced crossing of a fl oating world where certainty and logic seem to empty themselves, where everything seems to slide over appearances, pure images at a distance, as if inhabited by a dream. As those which pass, rhythming the film in a slow movement, shots filmed through a windscreen or a window. And where we would be just like the passengers on a cruise ship as it slides over calm waters and sees the world in travelling. (NF)