Wilkolak

If ever a film demonstrated man's inhumanity to man, this has to be up there. Here we have a few half starved kids so terrified of their Nazi guards that they perform automatic, humiliating tasks just to get through each day. You get the distinct impression that they have never known any other kind of life. Once their camp has been liberated and they are effectively abandoned, they take a chance to bond together in a derelict country house for survival and turn into quite an effective group against a clear and natural animal enemy that is now just as deprived of freedom (and food) and many of them. There is certainly some gore, but it seems appropriately inflicted on the deserving. The title is slightly misleading, I thought. There is nothing supernatural about the "horror" here - it's as plain as the nose on your face. Certainly worth seeing on a big screen.

Absolutely stunning movie! Really good acting, these children are haunting me for days now. Children who have been liberated from a concentration camp are left at in an abandoned palace in a forest without food and water. But the real nightmare starts when the house is besieged by hungry wild dogs that were used to guard the nazi camp.

Very very beautiful cinematography and explains the characteristics of post-war psychological behaviour . Beautifully captures the horror of man eater dogs and explains the divine quality of mercy even to one's enemies.

The underlying meaning in this film is the actual truth of humanity n not like Lord Of... The premise is a bit similar, in fact even more harsher than Lord Of... Children r saved from a Nazi concentration camp but they encounter hunger, thirst and dogs in a hostile war ravaged environment.

The best part is the acting n the child actors nailed it. The film does have some brutal n dark scenes, lil suspense n heart pounding tension.

The actual truth about humanity: v aint fighters, bt lovers. Our internal default is 2 work 2gethr. Despite everything, humanity is actually decent - Rutger Bregman.

Beautiful scenery and swell filming locations contrast with the horrors of war and genocide - and that's just the setting. Factor in the fundamental elements underlying the story - isolation, hunger, desperation - and creeping, quietly searing music from composer Antoni Komasa-Lazarkiewicz, and the tension is palpable before the plot even meaningfully begins. 'Werewolf,' or 'Wilkolak,' is not a movie that wants its audience to truly sit back and relax.

Acutely jarring moments are sparing, to effect. The emphasis here is on a pervasive, pensive mood, with risk of violent death both in the past and always waiting to burst through. This is bolstered by a color palette dominated by dull, bluish-gray, and tasteful lighting that allows deep shadow to feel ponderous. This is to say nothing of the clashing personalities of the children - disparities that grow more severe as conditions persist and worsen - nor the growing withdrawal of eldest Hanka, whose initial effort to assume responsibility becomes a burden that somewhat builds to detachment.

The small, young cast is superb, but this especially goes for those most prominent - Sonia Mietielica, as Hanka; Kamil Polnisiak, as Wladek; and Nicolas Przygoda, as Hanys. They in particular seem to bear capability of range and nuance befitting the darkness and intensity of the roles, and perform admirably. I hope we get to see more of them all some day.

The atmosphere 'Werewolf' endeavors to fashion isn't wholly enveloping, but ably keeps us on edge. Any viewer specifically looking for a concretely visceral tale with recognizable horror concepts may well feel put out, and possibly deceived by the title and premise. But if you're able to simply let the movie be, and appreciate it without or regardless of presuppositions, the result is highly satisfying as a tale of perseverance and and fortitude in the face of dire circumstances.

It's perfect neither generally nor in how well it keeps us engaged, but 'Werewolf' is a finely crafted, tense feature, well worth checking out for anyone who appreciates more underhanded approaches to their cinema.