She lets her hair down, literally, and learns to appreciate jazz - and the band’s handsome young saxophonist. The movie’s emotional climax is followed by an extended coda, as we follow Ida for a few days in the city, where she decides if she wants to return to being Sister Anna. The film’s deadpan humor has a trace of Jim Jarmusch or Aki Kaurismaki, but neither of those filmmakers tend to go to the heartbreaking destination Ida and Wanda are headed: the countryside, to find out, from the good Christian farmers there, what happened to the Jews who populated the place (including Ida’s parents) until World War II. Wanda smokes constantly and drinks behind the wheel their car has to be dragged out of a ditch by horses at one point. What follows is a humorous yet haunted road trip as this embittered former prosecutor and the wide-eyed novice take a road trip together. Anna’s real name is Ida Lebenstein: “So, you are a Jewish nun.” “You wouldn’t’ve been happy with me.” She has yet more blunt truths to share. Why didn’t you take me in as a child? asks Ida. She’s no streetwalker, Wanda, but a former, famous judge, and not one to edit her thoughts. Wanda (Agata Kulesza), a still-lovely woman hardened by age and experience, looks her niece up and down curiously while a man friend finishes dressing in her bedroom. So Anna goes to the city and knocks on her aunt’s ornate Art Deco door.
This surprises Anna she was raised as an orphan by the nuns and knew of no living relatives. Anna hasn’t taken her vows yet, and before she does her mother superior insists that she go to meet her aunt, Wanda. The luminous, quiet young woman known as Sister Anna (Agata Trzebuchowska) is first seen with her fellow novitiates, gingerly carrying a lifesized statue of Jesus through the snow to his place of honor on the convent’s grounds. At only 80 minutes, it’s also a testament to the power of cinematic brevity.
ATL NIGHT SPOTS EYE CANDY FULL
Screened earlier this year at the Atlanta Jewish Film Festival and now opening commercially, Pawel Pawlikowski’s lustrously austere Ida is a reminder that black-and-white cinematography can be more stunning than full color. In Ida and Chinese Puzzle, two films by European directors introduce their protagonists to strange new worlds, with very different results. L, I’m about to get a crib.,’” adds McCorvey.Agata Trzebuchowska as Ida. “For me, it’s cool to look around and see Black people that you pay say, ‘yo, this was my first time getting a W2. Since they both started out on their own as promoters and college party kings, it pleases them to know that they can do the same for others looking to get into the industry and start their own businesses. While having celebrities pack your club can be a moniker of success, McCorvey and Felder measure their success by looking at the opportunities they can give to others. Soon, a celebrity clientele and a stellar host list followed. This level of customer service was unmatched and brought the club massive, rightfully deserved attention. McCorvey and Felder always make sure to reciprocate their guests’ excitement because they’re equally as enthused to have them filling their tables. They brought in huge celebration signs, bottle girls, and a dance floor that was actually put to use. Overall, a night at Oak Atlanta is an experience and they were of the first club owners to provide that.
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