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“Has’s superbly crafted, visionary films indelibly capture the subjective experience of time… singularly beautiful.”
—The Wall Street Journal
The cinematic dreamscapes of Polish auteur Wojciech Has (1925-2000) are extraordinary odysseys through history, memory, and fantasy. In the metaphysical worlds Has conjures, time is a subjective experience, which warps and bends to the rhythms of the subconscious. That such personal, visionary films were made under the restrictions of Communism makes them all the more remarkable. This comprehensive retrospective, the first in New York City in almost twenty years, features new restorations and archival 35mm prints, and offers an all-too-rare opportunity to experience these staggeringly beautiful and profound works.
All films directed by Wojciech Has and in Polish with English subtitles.
Has’ phantasmagoric 70s art-house masterpiece won the Jury Prize at Cannes.
Has’ follow-up to The Saragossa Manuscript was this hallucinatory mystery about wartime guilt.
Has’ best-known work, with a legendary cult following, is this trancey, baroque acid-trip.
This day-in-the-life of an alcoholic becomes an expressionistic tour-de-force in Has’ hands.
Has’ affecting meditation on the passage of time examines life in pre- and post-war Poland.
Has’ rare Kafkaesque snapshot of 1930s Warsaw, shot in deep-focus black and white.
Has’ visually stunning epic examines an old money-new money clash in 19th-century Warsaw.
One of Has’ most sublime reflections on the passage of time.
Has’ haunting memento mori, adapted from Chekhov, reverberates with autobiographical overtones.
An evocative memory piece exploring the psychic scars felt by Poland after WWII.
Has’ social realist fable about a young man’s tragicomic journey after an auto accident.
Has’ delirious gothic film about a man tempted to the dark side by his evil doppelganger.
A journalist, a safecracker, and a murderer share a prison cell in Has’ WWI seriocomedy.
Has’ final film is a fantastical odyssey about an alchemist in 16th-century Germany.