--- title: "Cold War" year: 2018 kind: "film" canonical: "https://film.one/film/cold-war" fi1m_id: "cold-war" imdb_id: "tt6543652" tmdb_id: 440298 wikidata_id: "Q51834363" fi1m_score: 85 critics_score: 88 critics_reviews: 16 published: "2026-09-16" updated: "2026-09-18T08:37:46.649892+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Cold War (2018) Directed by Paweł Pawlikowski · 1h 28m · MPA R · Romance, Music, Drama ## Identity Cold War - **Canonical:** https://film.one/film/cold-war - **Type:** Film - **Fi1m ID:** cold-war - **IMDb ID:** tt6543652 - **TMDB ID:** 440298 - **Wikidata ID:** Q51834363 - **Same entity:** https://www.imdb.com/title/tt6543652/, https://www.themoviedb.org/movie/440298, https://www.wikidata.org/wiki/Q51834363 **Fi1m score: 85** · Critics 88 from 16 reviews *In a sentence:* Two people who sound wonderful together and should probably never share a kitchen > Paweł Pawlikowski’s compact romance earns its sorrow through Joanna Kulig, Tomasz Kot and the music. We recommend it, with one reservation: the gaps between scenes sometimes leave the lovers’ feelings harder to follow than they should be. ## Synopsis Zuzanna ‘Zula’ Lichoń (Joanna Kulig) and Wiktor Warski (Tomasz Kot) meet in postwar Poland, where folk music and political demands are entangled. Wiktor wants Zula, whose impulsiveness makes their attraction difficult to settle into anything secure. Around them are Irena Bielecka (Agata Kulesza) and Lech Kaczmarek (Borys Szyc), in a country where the state reaches into private lives. Music draws the pair together, but their different temperaments complicate the relationship from the start. Their romance begins under pressures neither can simply ignore, with the prospect of a shared life requiring more than mutual desire. ## Review *Cold War* is a fine romance with two persuasive leads and an occasional habit of cutting away before we have felt enough. Paweł Pawlikowski gives their relationship 88 minutes, with little patience for the explanations and reconciliations that usually fill a love story. He wants us to recognise the attraction before we have decided whether these people ought to be together. For most of the film, we do. The screenplay, credited to Janusz Głowacki and Paweł Pawlikowski, follows the lovers through postwar Europe, where politics makes being together difficult without explaining everything that goes wrong. These are people capable of making difficulties for themselves, which saves the film from becoming an illustrated complaint about borders. Their volatility gives the actors something more interesting to play than wounded innocence. The pressure of the state is felt, but the couple cannot blame it for every hurt. Joanna Kulig plays Zuzanna ‘Zula’ Lichoń with enough impatience and appetite to disturb the careful compositions around her. Tomasz Kot gives Wiktor Warski a persistent longing that makes her restlessness harder to watch. We were moved by him; he makes wanting this woman seem an exhausting, permanent condition. Their differences make the attraction persuasive, and neither actor asks us to approve of the couple’s behaviour before taking their feelings seriously. Łukasz Żal’s black-and-white photography uses the narrow Academy frame to keep our attention on the people rather than the scale of the journey. The precision is a pleasure in itself, though it sometimes makes suffering look a little too carefully arranged. Production designers Marcel Sławiński and Katarzyna Sobańska give the period settings enough detail to make the places feel inhabited. That helps in a film which gives us so little time to get our bearings before moving on. Music does a good deal of the storytelling, with folk material and jazz giving the relationship different sounds as it develops. The changing songs help us register shifts that the abbreviated scenes cannot always explain. We listen for what has changed in the lovers as well as in the music, and that makes the soundtrack more involving than a collection of tasteful choices. In a romance so reluctant to spell things out, it is welcome to have something we can follow by ear. Jarosław Kamiński’s editing is responsible for much of that brevity, moving between episodes and leaving years for us to supply. Usually the gaps sharpen our attention, because a changed mood carries more weight when we have not watched every step towards it. Sometimes, though, we need one of those missing steps: the film asks us to accept the force of an attachment it has hurried past. We would have welcomed a little more time with the couple, even at the expense of such an admirably short running time. Romantic dramas can wear us down by explaining every change of heart; this one trusts a look or a song to do the work. That trust is mostly justified by the performers, even when the jump to the next episode comes too soon. Give it an uninterrupted evening, and do not expect these lovers to reward the attention by behaving sensibly. *Fi1m score 85, published 16 September 2026.* ## What the critics say The consensus is strongly positive, with praise clustering around Pawel Pawlikowski’s economical storytelling, the black-and-white compositions and Joanna Kulig’s performance. Most critics find the central romance passionate and melancholy, with the leads giving substance to a relationship shaped by political division and exile. Music earns particular attention: the changing songs and styles help carry the lovers across years and borders. The reviews also admire the period detail and the precision of the framing. The main reservation concerns how much feeling survives that formal restraint. The Evening Standard admires the style but finds the central relationship less moving than hoped. The Playlist goes further, arguing that the restraint and narrative choices make the characters difficult to connect with. The spread is chiefly between enthusiastic approval and admiration with reservations, rather than outright dissent; what many critics value as economy, others find emotionally distancing. ## Straight answers **Is Cold War worth watching?** *Cold War* is worth watching for anyone who likes a romance that trusts a look or a song over an explanation, and we scored it 85. Joanna Kulig and Tomasz Kot make the attraction persuasive across a compact 88 minutes. Our one reservation is that the film sometimes cuts away between episodes before we have felt enough, so give it an uninterrupted evening. **How long is Cold War, and what is it rated?** *Cold War* runs 1h 28m and is rated R by the MPA in the US. It is a romance and music film. **Where can I watch Cold War in the US?** *Cold War* is streaming on Amazon Prime Video in the US. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Cold War, and is it suitable for children?** *Cold War* carries a UK 15 certificate (R in the US), so it is not intended for children. It is a romantic drama about two volatile adults in postwar Europe rather than a violent or frightening film, and our review found nothing to warn the squeamish about. Older teenagers with patience for a subtitled, black-and-white love story should be fine. **How does Cold War compare to Brief Encounter?** *Cold War* and [*Brief Encounter*](https://film.one/film/brief-encounter) are both compressed romances in which music makes two people hard to forget, but the older film is the one we would press on a stranger. David Lean makes falling in love feel ordinary and frightening, and lets us follow every step; Pawlikowski jumps years between scenes, which sharpens attention but sometimes leaves feeling behind. Choose *Cold War* for volatile lovers, *Brief Encounter* for respectable ones. **What should I watch after Cold War?** After *Cold War*, try [*Brief Encounter*](https://film.one/film/brief-encounter) (1945, Fi1m 90): Another compressed romance where music makes respectable people dangerously difficult to forget. Then [*In the Mood for Love*](https://film.one/film/in-the-mood-for-love) (2000, Fi1m 91): For another pair whose attraction becomes painfully clear through restraint and repetition; and [*The Umbrellas of Cherbourg*](https://film.one/film/the-umbrellas-of-cherbourg) (1964, Fi1m 88): Music carries young love through compromises that ordinary dialogue might soften. ### Reviews we read (26) - **The Times**, Kevin Maher (★★★★★): Love, politics and creative obsessions collide in this sad and often unutterably beautiful masterpiece. Kulig gives an effortlessly empathetic performance in the meatier role, and the film features some of the year’s most ravishing black-and-white images in academy ratio. [Read](https://www.thetimes.com/life-style/article/film-review-cold-war-h555cwb3k) - **Time Out**, Phil de Semlyen (5/5): Pawel Pawlikowski’s epic love story is an achingly romantic, melancholy joy and a dazzling, painful universal odyssey through the human heart. The monochrome Academy-ratio framing and standout performances, especially Joanna Kulig’s, create one of the most colourful things in black and white. [Read](https://www.timeout.com/movies/cold-war) - **Los Angeles Times**, Kenneth Turan (90/100, inferred): The critic calls the film a passionate, tempestuous and haunting white-hot romance that smolders despite its title, praising its assured direction, convincing performances and gorgeous black-and-white cinematography. It singles out the volatile central relationship and the director’s personal dedication to his parents as making the story feel immediate and dazzling. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-cold-war-review-20181220-story.html) - **The Guardian**, Mark Kermode (90/100, inferred): Pawlikowski delivers a sweeping, searing love story inspired by his parents, spanning 15 years across postwar Europe with music, politics and passion at its core. Joanna Kulig gives a star-making performance of astonishing range as Zula. [Read](https://www.theguardian.com/film/2018/sep/02/cold-war-pawel-pawlikowski-review-mark-kermode) - **Vulture** (90/100, inferred): The critic calls it a stunning love story told through love songs, visually stunning, passionate, wistful, and thoughtful. It singles out Joanna Kulig's astounding performance and the way music evolves with the characters for praise. [Read](https://www.vulture.com/2018/12/cold-war-review.html) - **Slant Magazine** (3.5/4): The critic finds it striking for its precise calibration of narrative minimalism and aesthetic elementalism, breaking from the formalism of Ida. It singles out the obsessively detailed period settings and reverently curated soundtrack for praise while noting it sometimes reins in emotional depth. [Read](https://www.slantmagazine.com/film/cold-war/) - **Radio Times**, Jeremy Aspinall (85/100, inferred): Following the success of Ida, Pawlikowski delivers a mesmerising romantic drama loosely inspired by his parents’ relationship spanning decades across postwar Europe. The crisp monochrome cinematography and luminous performance by Joanna Kulig add to an utterly entrancing experience. [Read](https://www.radiotimes.com/movie-guide/b-2r0dfn/cold-war/) - **IndieWire**, David Ehrlich (B+): The critic describes it as one of the bleakest love stories ever told, a broken love story about broken people in a broken country. It praises the director's ability to capture the tempestuous relationship across time and borders. [Read](https://www.indiewire.com/features/general/cold-war-review-pawel-pawlikowski-cannes-2018-1201962858/) - **Little White Lies**, David Jenkins (4/4/3): This miniature monochrome epic is an extraordinary piece of cinematic craftsmanship that straddles the east-west divide in post-WWII Europe. The film excels in its visual style and personal ambitions as characters navigate love across political ideologies and borders. [Read](https://lwlies.com/festivals/cold-war-cannes-review) - **The Telegraph**, Tim Robey (4/5): Pawlikowski’s companion piece to Ida is a silvery black-and-white tale of star-crossed lovers whose relationship mirrors its own kind of cold war. It is pristine and jazzy, emotionally aloof by design yet accessible, with strong performances and a melancholy about not knowing what you’re looking for. [Read](https://www.telegraph.co.uk/films/0/cold-war-review-love-finds-way-jazzed-up-war-torn-poland/) - **Variety**, Guy Lodge (80/100, inferred): The critic describes the film as a transfixing, ellipsis-filled star-crossed romance that moves to its own restless jazz-infused rhythm while returning to the meticulous monochrome aesthetic of the director’s previous work. It singles out the lead performances and the lovingly handpicked soundtrack for elevating the cyclical love story across borders and years. [Read](https://variety.com/2018/film/reviews/cold-war-review-1202804041/) - **Empire**, Andrew Lowry: The critic praises the film as moving, rich in period detail and beautifully acted, with striking visuals and elegant handling of its themes in a short runtime. Kulig’s performance and the precise compositions stand out for praise. [Read](https://www.empireonline.com/movies/reviews/cold-war-review/) - **Evening Standard**, David Sexton: The critic calls it the best film in competition at Cannes so far, noting its ravishing style and eloquence on life under totalitarianism versus exile, though the central relationship does not wholly move the viewer as hoped. [Read](https://www.standard.co.uk/culture/film/cannes-2018-cold-war-zimna-wojna-review-a-twisting-tale-of-lovers-lives-torn-apart-by-the-iron-curtain-a3836466.html) - **Film Comment**, Ela Bittencourt: The critic describes it as a spirited albeit flawed entry in the tradition of Polish exile cinema. She singles out the shrewd use of folklore and Joanna Kulig’s captivating performance for praise while noting some clichéd romantic tableaux. [Read](https://www.filmcomment.com/article/review-cold-war/) - **Screen Daily**: Pawel Pawlikowski follows up Ida with this story of two lovers in 1950s Poland, a seductively intimate love story drenched in music and buffeted by the turbulence of post-war Europe. At a focused length, it is glorious, sophisticated film-making with arresting lead performances and thrillingly liquid camerawork in the Polish sequences. [Read](https://www.screendaily.com/reviews/cold-war-cannes-review/5129035.article) - **Sight and Sound**, Tony Rayns: Pawlikowski triumphs with a romantic epic cut down to evocative episodes featuring luscious monochrome photography and an unimprovable cast. The director proves remarkable economy in handling a fragmentary narrative across 15 years while rooting the story in music and a pessimistic view of authoritarian states hobbling personal relationships. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-cold-war-dances-music-hard-times) - **The Hollywood Reporter**, Leslie Felperin: The critic calls it a bittersweet and unbearably lovely sad ballad of two lovers who cannot stay apart yet sometimes cannot stand each other. It singles out the eclectic soundtrack and exquisite black-and-white cinematography for praise while noting the anti-romantic message about flawed lovers. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/cold-war-film-review-1110299/) - **The New York Times**, Manohla Dargis (Critic’s Pick): The critic finds the film a seductive black-and-white romance that turns suffering into high style with just enough politics for heft. The standout elements are the two knockout lead performances that supply the story’s heat, flesh and heartbreak. [Read](https://www.nytimes.com/2018/12/20/movies/cold-war-review.html) - **The Skinny**, Joseph Walsh (★★★★★): The critic calls it Pawlikowski’s finest work to date, a dexterous examination of political ideologies wrapped in a mesmerising story of wounded love. He singles out the beguiling lead performances and the effective juxtaposition of disparate musical genres for praise. [Read](https://www.theskinny.co.uk/festivals/international-festivals/cannes/cold-war) - **Collider**, Gregory Ellwood (A-): The critic praises Joanna Kulig's breakthrough performance and the film's stunning visuals and direction by Pawlikowski, noting it lingers long after viewing. [Read](https://collider.com/cold-war-review/) - **Consequence** (A-): The review commends the potent love story, strong performances especially Kulig's, and the film's efficient storytelling and visual depth amid political and personal turmoil. [Read](https://consequence.net/2018/12/film-review-cold-war/) - **The Wrap**, Steve Pond (80/100, inferred): The critic praises Pawlikowski's lyrical filmmaking and ravishing visual sense in depicting a tumultuous postwar romance across divided Europe. They highlight the impetuous and daring performance by Joanna Kulig as Zula and the deep longing conveyed by Tomasz Kot as Wiktor. [Read](https://www.thewrap.com/cold-war-film-review-romance-postwar-europe-ravishing-haunted/) - **The Playlist**, Jordan Ruimy (B): The film is admirable and beautiful to look at, with stunning cinematography, period authenticity, and hypnotic performances, especially from Joanna Kulig. However, its tight restraint and narrative risks isolate the viewer, making it hard to fully empathize or fall in love with the characters. [Read](https://theplaylist.net/pawel-pawlikowskis-cold-war-review-20180513/) - **Eye for Film**, Richard Mowe: A refreshing change in the Cannes Competition, this spare and rigorous exploration of a bittersweet romance between two lovers is beautifully shot and articulated. Pawlikowski is a master of understatement and economy, crafting a film that deserves the same success as Ida. [Read](https://www.eyeforfilm.co.uk/review/cold-war-2018-film-review-by-richard-mowe) - **HeyUGuys**, Jo-Ann Titmarsh: Pawlikowski has delivered a masterclass in filmmaking with this stark, stunning love story that has all the ingredients to become a classic. The performances from Joanna Kulig and Tomasz Kot are highlights in this pan-European tale of mismatched lovers entangled with the Iron Curtain. [Read](https://www.heyuguys.com/cold-war-review-cannes-2018/) - **Paste**, Andy Crump (8.9): The critic highlights the bittersweet personal romance inspired by the director's parents, praising the cinematography, performances, and how it captures the era's tensions through music and silences. [Read](https://www.pastemagazine.com/movies/cold-war/cold-war) ## Details - **Director:** Paweł Pawlikowski - **Director:** Paweł Pawlikowski - **Screenplay:** Paweł Pawlikowski, Janusz Głowacki - **Cinematography:** Łukasz Żal - **Editor:** Jarosław Kamiński - **Production design:** Katarzyna Sobańska, Marcel Sławiński - **Costume design:** Aleksandra Staszko - **Producer:** Tanya Seghatchian, Ewa Puszczyńska - **Cast:** Joanna Kulig as Zuzanna 'Zula' Lichoń; Tomasz Kot as Wiktor Warski; Borys Szyc as Lech Kaczmarek; Agata Kulesza as Irena Bielecka; Cédric Kahn as Michel; Jeanne Balibar as Juliette; Adam Woronowicz as Consul; Adam Ferency as Minister - **Runtime:** 1h 28m - **Certificate (MPA):** R - **Release (the US):** 22 March 2019 - **Genres:** Romance, Music, Drama - **Budget:** $5 million - **Box office:** $19 million - **Trailer:** https://www.youtube.com/watch?v=BvPkDdFeTk8 ## Where to watch in the US - Amazon Prime Video: streaming, uhd - Amazon Prime Video: free, uhd *Checked 2026-09-16.* Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, HK, IE, IT, JP, MX, NL, NO, NZ, PA, PL, SE, SG, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2019: Best Cinematography (nominated) - European Film Award – People's Choice Award for Best European Film 2019: European Film Award – People's Choice Award for Best European Film (won) - International Submission to the Academy Awards 2019: International Submission to the Academy Awards (nominated) - European Film Award for Best Actor 2018: European Film Award for Best Actor (nominated) - European Film Award for Best Actress 2018: European Film Award for Best Actress (won) - European Film Award for Best Director 2018: European Film Award for Best Director (won) - European Film Award for Best Editor 2018: European Film Award for Best Editor (won) - European Film Award for Best Film 2018: European Film Award for Best Film (won) - European Film Award for Best Screenwriter 2018: European Film Award for Best Screenwriter (won) - Meeting Point Europe Award 2018: Meeting Point Europe Award (won) ## If you liked this - *Brief Encounter* (1945), Fi1m 90: Another compressed romance where music makes respectable people dangerously difficult to forget. — [Fi1m page](https://film.one/film/brief-encounter.md) - *In the Mood for Love* (2000), Fi1m 91: For another pair whose attraction becomes painfully clear through restraint and repetition. — [Fi1m page](https://film.one/film/in-the-mood-for-love.md) - *The Umbrellas of Cherbourg* (1964), Fi1m 88: Music carries young love through compromises that ordinary dialogue might soften. — [Fi1m page](https://film.one/film/the-umbrellas-of-cherbourg.md) - *Phoenix* (2014), Fi1m 68: Postwar damage and a singer’s voice make this a sharper, stranger companion. — [Fi1m page](https://film.one/film/harry-potter-and-the-order-of-the-phoenix.md) - *The Cranes Are Flying* (1957), Fi1m 87: War bears down on private love, with camerawork far less inclined to sit still. — [Fi1m page](https://film.one/film/the-cranes-are-flying.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/cold-war