The Code, which would be its English title, is constructed around the visit of Tadeusz back to Krakow to find out what happened to his son, who disappeared in the Second World War, presumed dead. The film oscillates between long dialogue scenes and visually poetic flashback scenes from the war. Tadeusz finds himself embroiled in family problems with his other son, Maciek. Whilst the narrative at times felt confusing, it’s intriguing to see another Polish director seeking to come to terms with the legacy of the Second World War and the holocaust. Has approaches this in a manner which feels tangential: it’s part of Tadeusz’ story, without being in any way central to it. It feels more like, as he seeks to unearth the truth, other truths emerge. One curious aspect of the film is the way in which Tadeusz, who has lived in England for many years, seems free to come and go as he pleases. The iron curtain appears to be wide open.
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