The symbolist artist Jacek Malczewski's paintings burst into existence, becoming the backdrop of the film, its distinct canvas and captivating colour palette. As autumn arrives, nature slowly withers away, making a rich funeral scene adorned with golden leaves in the birch forest. This setting serves as both the beginning and end of the story. The two brothers, conflicting each other, couldn't be more different: one appears lifeless even when alive, while the other, destined to die soon, desperately seeks joy in the remaining moments of his existence. Bolesław (Daniel Olbrychski), a widower, has a young daughter who lacks her father's affection, and he seems to monopolize grief in his lands. On the other hand, Stanisław (Olgierd Łukaszewicz) possesses a sacrificial love for everything, displaying compassion and self-denial, as he relentlessly pursues a life worth dying for. It's obvious to everyone, including his love interest, a village girl Malina (Emilia Krakowska), who is genuinely drawn to the dying younger brother. The dynamics between the brothers are peculiar, a complex blend of repressed incestuous love and hate that never transcends the realm of words and thoughts, yet painfully burns on the screen. Once again, Olgierd Łukaszewicz delivers an unforgettable performance, dying in a manner unlike any other in national cinema, suspended between reality and the ethereal, amidst his final feverish surreal dream. As if belonging to a metaironic vice versa universe, in the spring, a modest funeral is held for Stanisław, nestled in the heart of the birch forest, so Bolesław can finally halt his mourning and awaken to life. Undoubtedly, this film by Wajda, which is one of my favourites among his works, is a true gem, once left an indelible mark on my mind.
