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Far from Poland (1984)

ALL 03/10/1984 (en) 106 Min
  • Release
    03/10/1984
  • Production
  • Rotten tomato
    50%
  • Original title
    Far from Poland
  • Original language
    en
  • Production Cost
  • 0.00
    -

Overview

FAR FROM POLAND is probably the first American non-fiction film (Godmilow calls it a "drama-tary") to explode cinema verite's mythic claim to be the only trustworthy mode of representation for discussing the real world, and in particular, social and political issues, on film. Refused a visa to travel to Poland, "Jillski" (her Polish nickname in the film) has to literally re-invent the documentary to deal with the Polish situation and she does so with a particular eye to deconstructing not only documentary's specific claims to objectivity, but also the bourgeois audience's desire to sit comfortably in their seats, feel compassion, feel themselves part of the solution (not part of the problem) by having felt compassion for the poor oppressed Poles, who, Godmilow would argue, are far more acutely aware of their situation and what forces oppress them than the liberal American folk in the movie house.

  1. Jill Godmilow

    Director

  2. Story

  3. Editor

  4. Producer



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Casts

  1. Ruth Maleczech

    Anna Walentynowicz

  2. Mark Margolis

    Adam Zarewski

  3. Olek Krupa

    Jan (voice)

Full Cast & Crew

Casts : 3 , Crews : 1

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Keyword

Far from Poland (1984) 106 Min

ALL 03/10/1984 (en)
  • Release 03/10/1984
  • Production
  • Original title Far from Poland
  • en
  • Revenue0.00

Overview

FAR FROM POLAND is probably the first American non-fiction film (Godmilow calls it a "drama-tary") to explode cinema verite's mythic claim to be the only trustworthy mode of representation for discussing the real world, and in particular, social and political issues, on film. Refused a visa to travel to Poland, "Jillski" (her Polish nickname in the film) has to literally re-invent the documentary to deal with the Polish situation and she does so with a particular eye to deconstructing not only documentary's specific claims to objectivity, but also the bourgeois audience's desire to sit comfortably in their seats, feel compassion, feel themselves part of the solution (not part of the problem) by having felt compassion for the poor oppressed Poles, who, Godmilow would argue, are far more acutely aware of their situation and what forces oppress them than the liberal American folk in the movie house.

  1. Jill Godmilow

    Director

  2. Story

  3. Editor

  4. Producer



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