How much healing can a good massage provide? A fast-fading hour or so of relaxation, or a more sustained sense of general well-being and peace with the world, so long as it’s topped up with r…
How much healing can a good massage provide? A fast-fading hour or so of relaxation, or a more sustained sense of general well-being and peace with the world, so long as it’s topped up with repeat appointments? In “,” a searching, cryptic satire of bourgeois insularity in modern Poland, the magic hands of an immigrant Ukrainian masseur are tasked with easing a litany of woes, from middle-class guilt to climate change anxiety to terminal cancer — though no one thinks to ask him about his own...
Perhaps that could come with “Never Gonna Snow Again,” which may be immersed in particular strains and stresses of urban Polish society, but should resonate universally with its evocation of haves-and-have-nots tension, supported by droll comedy and lavishly atmospheric intrigue.
It’s an opening gambit that raises a surfeit of questions about this strange interloper, not all of which will be neatly answered in the ambiguous sequence of events that ensues. The next time we see him, accompanied by the lush, waltzing strains of Shostakovich, he’s entering a gated residential estate on the suburban outskirts of Warshaw, evenly dotted with meringue-white McMansions that look — through the elegant, alien gaze of Englert’s camera —like Goop-branded Lego sets.
Quite what Zhenia makes of his clients has to be read between the long, limber lines of Utgoff’s physically commanding performance. He holds more power over them than they seem to realize, able to snap them in and out of unconscious dream states with a soft click of his fingers — and occasionally using that freedom to explore their vast houses, or practice silent ballet routines on the heated floors.
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