The film is an Eastern European art film set in the 1960s, and it is a black and white film, which usually means a long, deep and not-so-exciting storyline at all. Polish director Paulikski’s "Ada" has these as soon as it comes up. The hypnotic element seems to have lost a lot of audience popularity. Indeed, this is a slow-paced, restrained and suppressed film. It is about an orphan Ada who grew up in a monastery after the war in Poland and her aunt set foot on a family search together. The story of the journey does not have a big era or a big person. The positioning is very ordinary, but it has the ambition to see the big from the small. Behind it lies the crisis of faith and historical trauma of the Poles in the post-war socialist stage. The most commendable thing about the film is its beautiful black-and-white photography. The treatment of light is very elegant and elegant, and the composition is extremely stylized. People are often placed in a corner of the picture, creating a sense of cutting. In this picture, large areas are left blank. The method corresponds to the history of "left blank" in the story that brings permanent pain to the protagonist. ()
The biggest feature of the film is the black and white image. Like sheets of thin prints, heavy in black and white, with sharp lines, presented on a sheet of clear paper. It was winter from beginning to end. In the slightly cold and wet weather, the dark gray asphalt road was slightly lighted, as if it had just been raining coldly. The dampness and coldness of the air peculiarly reveals the screen, making people go back to a certain weather, the nose is sour, the hands are in the pockets, and the body occasionally chills with the breeze, those winters within reach. The eternal winter forest on both sides of the country road, gray and black silhouettes, was run over by the tires of the old Warsaw car. The unique taste of the wilderness, the mixed smell of fallen leaves and wood embers, permeates everywhere. Every frame is a lonely mirror image of those photographers after World War II. The simplification of the image makes the strokes of the characters and the environment thin and deep, just like the reduction of the background sound, so that the near-silent rustle and the sparrows that occasionally croak on the branches in winter can be heard. The desolation of all humanity, the hopelessness of redemption, life and suffering, cruelty and sorrow, slowly reverberate, the darkest dust of the soul, flying in the dimmed light. With the perfect combination of story and color, the film has formed a peculiar sense of transparency. This kind of transparency is not bright, but is always clear, precise, speechless, and boundless in a certain gray scale, and it can be considered. ()
The composition of the film picture is very particular about each frame. The contrast of light and dark, and the characters who are always below one-third of the frame, create a lot of visual blanks and add a sense of desolation. In line with the lens style, the film's narrative also follows a simple route, and the plot is basically driven by the picture rather than the dialogue. However, in the face of the heaviness of the content, the minimalist style still seems somewhat powerless. The profoundness of the screenwriter gives way to the perfection of the visual effects. The film attempts to go back to history through fragments of individual lives, but accidentally stops the history before the exquisite pictures. The lightness of the film, after all, failed to hold up the weight of history. ()
