Ida, a Polish film, takes the audience on a journey of self conflict seen through the main character, Ida. She is a practicing catholic who receives a shocking truth from her aunt when meeting her. In the first scenes of her walking away from the covenant, Ida struggles to find herself in a world full of strong personalities. She explores the new world and her desires while dealing with finding her parent’s bodies and travelling with her alcoholic, domineering aunt. The director, Pawlikowski, represents Ida’s inner conflict of seeking out her true self by her limited but powerful words, camera angles that focus on the bottom of the screen, distinct placement in lighting, her response to Wanda’s promiscuity, and her sparse but self-assured actions.
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She finally indulges in her sexual desires with Lis. She takes off her veil, she drinks alcohol, and she smokes, completely decrying her Catholic morals and beliefs. In a crucial scene, Ida is questioning the boy she gave her purity to on what life will be like in their future. She repeats the question, “and then what?” In the morning, she wakes up in a dimly lit room; she is sitting at the left side of the screen. This shows that even after Ida indulges, nothing changes. Her act is still insignificant. She is able to step out of her comfort zone and make a choice for herself. However, her choice does not take away the inner struggle she still faces when she wakes up the morning after. Her face, again, is expressionless as she walks over to a dresser and puts back on her habit and veil. The last scene is open to interpretation. Ida’s final stop is unknown since she never reveals her feelings. However, Ida is choosing to walk away from something since we see her frontal view. She is confidently going to her destination; her face is dead center. She dips down sometimes to the bottom of the screen, but for two minutes, Ida dominates the scene. The final moments of the film depict that wherever Ida decides to go does not matter because it is her own choice. It demonstrates she has conquered her inner
She finally indulges in her sexual desires with Lis. She takes off her veil, she drinks alcohol, and she smokes, completely decrying her Catholic morals and beliefs. In a crucial scene, Ida is questioning the boy she gave her purity to on what life will be like in their future. She repeats the question, “and then what?” In the morning, she wakes up in a dimly lit room; she is sitting at the left side of the screen. This shows that even after Ida indulges, nothing changes. Her act is still insignificant. She is able to step out of her comfort zone and make a choice for herself. However, her choice does not take away the inner struggle she still faces when she wakes up the morning after. Her face, again, is expressionless as she walks over to a dresser and puts back on her habit and veil. The last scene is open to interpretation. Ida’s final stop is unknown since she never reveals her feelings. However, Ida is choosing to walk away from something since we see her frontal view. She is confidently going to her destination; her face is dead center. She dips down sometimes to the bottom of the screen, but for two minutes, Ida dominates the scene. The final moments of the film depict that wherever Ida decides to go does not matter because it is her own choice. It demonstrates she has conquered her inner