Does homecoming epitomize Polish filmmaker Pawel Pawlikowski's last two films, Ida (2013) and Cold War (Zimna wojna, 2018)? Considering the box office, the awards won, and the film critics’ response, it seems that the transition from documentaries to feature films meant a turn to Polish history and identity for the director. (Pawlikowski was born in Warsaw but has spent most of his life abroad after his parents left Poland in the wake of the anti-Zionist campaign of March 1968, while he was still a teenager.) As Jerry White put it, analyzing Cold War in the light of Pawlikowski's earlier career as a British filmmaker interested in non-Polish themes, his last two films have put “Polish cinema back into global spotlight.” The question arises whether Pawlikowski's recent films gained worldwide success—in fact, they were more successful abroad than in Poland itself—because of the vision of Poland they convey, rather than a “Polish vision” of postwar European history and identity. This article examines several the major themes of Pawlikowski's films and compares them with the work of other acclaimed Polish directors, especially one of Krzysztof Kieslowski's later films, The Double Life of Veronique (La double vie de Veronique, 1991).

中文翻译：

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波兰战后创伤与帕维尔·帕利科夫斯基电影中的身份认同：对艾达和冷战的反思

波兰电影制片人 Pawel Pawlikowski 的最后两部电影 Ida (2013) 和 Cold War (Zimna wojna, 2018) 是返校节的缩影吗？考虑到票房、获奖情况以及影评人的反应，从纪录片到故事片的过渡似乎意味着导演转向波兰历史和身份。（Pawlikowski 出生在华沙，但他的父母在 1968 年 3 月的反犹太复国主义运动之后离开波兰后，他的大部分时间都在国外度过，当时他还是个少年。）正如杰里怀特所说，分析冷战考虑到 Pawlikowski 作为一名对非波兰主题感兴趣的英国电影制片人的早期职业生涯，他最近的两部电影让“波兰电影重新回到了全球的聚光灯下”。问题出现了 Pawlikowski 最近的电影是否获得了全世界的成功——事实上，他们在国外比在波兰本身更成功——因为他们传达了波兰的愿景，而不是战后欧洲历史和身份的“波兰愿景”。本文考察了 Pawlikowski 电影的几个主要主题，并将它们与其他著名的波兰导演的作品进行了比较，尤其是 Krzysztof Kieslowski 后期的电影之一，Veronique 的双重生活（La double vie de Veronique，1991）。