《婚礼1973》在安杰伊·瓦伊达手中变成了一面照妖镜。演员们的表演像泡了水的棉花，软乎乎却有分量——伊萨贝拉·奥斯则瓦斯卡演玛尔塔时，眼神总像隔着一层雾，不是悲伤，是没说出口的“算了”；达尼尔·奥勒布里斯基演那个农场青年，说话时爱挠后颈，仿佛一紧张，从前的誓言就会从指缝漏出去。 ☺。瓦尔切夫斯基和奥勒布里斯基这帮老戏骨演得太绝了，把婚礼上那种又疯癫又悲凉的小人物劲儿拿捏得死死的，看着看着心里就发堵。影片改编自斯坦尼斯瓦夫·维斯皮安斯基的诗剧，却在乡村土灶的炊烟里找到了真正的波兰性——不是博物馆里的民族服装，而是人们醉酒后必定唱起的挽歌。瓦伊达用**“日常细节的显微镜”**，让政治隐喻藏进婚礼蛋糕的糖霜裂痕里，让个体的微小挣扎，成为照见体制钝伤的镜子。

　　Set at the turn of the century, the story concerns a Polish poet living in Cracow who has decided to marry a peasant girl. The wedding is attended by a heterogenous group of people from all strata of Polish society, who dance, get drunk and lament Poland's 100-year-long division of Poland under Russia, Prussia, and Austria. The bridegroom, a painter friend, and a journalist each in turn is confronted with spectres of Polish past. In the end a call to arms is called but turns out to be a hoax.

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