Nearly a century after Władysław Reymont’s Nobel Prize triumph for “Chłopi” (The Peasants), his literary classic has taken a vibrant leap onto the global cinematic scene. This animated adaptation, a brainchild of the creators behind “Loving Vincent,” has made a significant splash in the film industry, receiving standing ovations at the Toronto Film Festival and chosen as Poland’s Oscar entry.
Dorota Kobiela, the screenwriter and director, finds a creative intersection between Reymont’s evocative literary landscapes and their cinematic portrayal. She observes, “Reymont painted his description of the world with words, while we literally paint our film in the style of his contemporaries from the Young Poland movement, to which Reymont also belonged.”
The making of the film was an elaborate process, involving prominent Polish actors performing against green screens. Following this, a team of over 100 painters from Poland, Lithuania, Ukraine, and Serbia created oil paintings on canvas, which animators then meticulously transformed into 40,000 frames for the film. These unique paintings are now available at shop.thepeasantsmovie.com. The film also features artistic interpretations from late 19th and early 20th-century artists, particularly from the Young Poland movement, showcasing pieces like Józef Chełmoński’s “Indian Summer”, “Storks”, “Storm”, and Władysław Ślewiński’s “Combing Hair” among others. Further details on these artistic inspirations can be explored at niezlasztuka.net.
Władysław Ślewiński’s “Combing Hair” Original Painting
The narrative unfolds in a late 19th-century Polish village, focusing on Jagna, a young woman determined to carve her own path in a world dominated by patriarchy, gossip, and feuds. The film delves into her entanglements with the village’s wealthiest farmer, his son, and other influential figures, culminating in a dramatic showdown with her community. The contrast between the life-altering influence of the seasons on peasant life and contemporary existence is starkly portrayed, encapsulated in the poignant theme: “Love comes and goes but the land remains.”
The Observer (UK) describes the film as “a disconcertingly beautiful picture about the ugliness of humanity.”
