Stephen Fry, normally the embodiment of droll detachment, cuts a much earthier figure in Treasure, the new film from German writer-director Julia von Heinz. With a thick beard and scraggly gray hair, a credible Slavic accent, and a distinctly oafish slump in his large frame, Fry transforms himself into Edek Rothwax, a haunted Holocaust survivor and recent widower who, in accompanying his daughter Ruth (Lena Dunham) to his homeland of Poland in 1991, would rather flirt with translators and sing karaoke than revisit the locales of his past.
Heinz shoots Poland through a gauzy gray filter that’s almost as extreme as the hackneyed orange tint used to portray Mexico in so many thrillers that center around drug trafficking. The dreary look is certainly appropriate, though, to the depressing landscapes of ramshackle buildings, not to mention the immediately post-communist time period and lingering trauma of the Holocaust half a century earlier.
Heinz shoots Poland through a gauzy gray filter that’s almost as extreme as the hackneyed orange tint used to portray Mexico in so many thrillers that center around drug trafficking. The dreary look is certainly appropriate, though, to the depressing landscapes of ramshackle buildings, not to mention the immediately post-communist time period and lingering trauma of the Holocaust half a century earlier.
- 6/10/2024
- by Seth Katz
- Slant Magazine
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