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Can we escape the stigma of the past? Rafael Lewandowski tries to answer this philosophical question in his latest film about the intriguing and symbolic title "Kret". It is also his debut, full-length film, because he previously specialized in documentary projects ("The Art of Silence" or "Children of Solidarity"). We meet the Kowal family. Zygmunt (Marian Dziędziel) is a well-deserved Silesian Solidarity activist. He led a miners strike in the early 1980s.
last century in which several of his brothers died, including the father of Ewa (Magdalena Czerwińska), his later daughter-in-law. Hailed as a hero, he was removed from the union's structures after many years. Wanting to rearrange his life and find some source of income, he and his son (Borys Szyc) start their own business.
They often go to France to buy second-hand clothes to sell them to local, friendly lumpeks with considerable profit. When the situation of this family seems relatively stable, the problem of unsettled history appears on the horizon.
A young, ambitious lady judge undertakes a difficult, but very honorable case, to resume the trial, which aims to find the perpetrators of the pacification of that bloody as a result of the strike. Public opinion revives those memories again, and journalists start their own investigation.
The calmness of this family breaks down after revelations in one of the newspapers that the symbol of Solidarity, Zygmunt Kowal outsmarted everyone and reported "all his companions" as "Kret". The Lewandowski & Kardel scenario definitely has a few advantages. First of all, the film from the machine does not assess the behavior and decisions of the tragic heroes of this plot, but the viewer himself becomes an eyewitness to the events and can independently verify the actions of the characters appearing there. Secondly and it is possible that this is the most important advantage of the creators did not focus only on the problems of the Polish People's Republic. It even seems that these dramatic events are somehow a background for other interpersonal problems. After watching "Kret" we can wonder what is the limit of sacrifice and breaking the rules for loved ones. Also apparent is the apparently exemplary father-son relationship, which is put to a great test of mutual trust. Unfortunately, to the disadvantage of the whole film, the authors of the script are not consistent and fall into stereotypes. A strong example of this significant shortcoming is the further lead of the character Ewa, daughter-in-law of Zygmunt.
Her behavior after disclosure of journalistic revelations is incomprehensible, she is passive and does not ask uncomfortable questions to which she has an obvious right.
A pleasant surprise is the rather episodic role of Jerzy Janeczek, the performer of the cult character from the series "Sami swoi", Witia Pawlak, who returns after years of on-screen non-existence. "Actor Smarzowski," or Marian Dziędziel, as usual, showed the artistry of his acting skills, because the complexity of his character in front of the screen looked quite credible and realistic. I was most enchanted by the scenes of Szyc-Pszoniak, until I was bitter that so little confrontation between these two actors could be seen during the almost two-hour screening. When the two of them appeared on the screen, the atmosphere became dark and mysterious. The photos of Piotr Rosołowski also deserve praise, which created an interesting mood of the narrative and decently harmonized with the good music of Jérôme Rebotier. Maybe "Kret" is not a masterpiece of Polish cinema, but it deserves a moment of attention and reflection.
If we do not look at Lewandowski's work only through the prism of the uncomfortable and tragic history of the last century, we will notice that it also touches on universal truths and values such as family, conscience and moral principles. .
