A woman stalks her sick husband's doctor for answers and gives him a dilemma.
The basic plot is excellent and the full effect of it is not realised until the end. There are moments when the pace slightly drags and there is a reliance on some aspects of it (backstory) being told as exposition dialogue, but this does not lesson the impact of what happens.
When the Doctor makes a key decision and we learn the outcome it is pretty jaw dropping and this ties in well to the key theme of the story. Some of it is open for interpretation whether we hear and intentional lie or someone swearing a truth to God that they do not know.
Visually it retains the same bleakness we saw in part one and has some unique sequences that work incredibly well.
The seemingly continuous move from Dorota in her flat, to the Doctor's glowing red face below, across to Andrzej hospital bed and finally to the bee in the glass is an absolutely brilliant combination of cinematography and editing.
Krystyna Janda, Aleksander Bardini, and Olgierd Lukaszewics are all excellent.
The basic plot is excellent and the full effect of it is not realised until the end. There are moments when the pace slightly drags and there is a reliance on some aspects of it (backstory) being told as exposition dialogue, but this does not lesson the impact of what happens.
When the Doctor makes a key decision and we learn the outcome it is pretty jaw dropping and this ties in well to the key theme of the story. Some of it is open for interpretation whether we hear and intentional lie or someone swearing a truth to God that they do not know.
Visually it retains the same bleakness we saw in part one and has some unique sequences that work incredibly well.
The seemingly continuous move from Dorota in her flat, to the Doctor's glowing red face below, across to Andrzej hospital bed and finally to the bee in the glass is an absolutely brilliant combination of cinematography and editing.
Krystyna Janda, Aleksander Bardini, and Olgierd Lukaszewics are all excellent.