The Peasants (2023) Dir. Hugh Welchman & Dorota Kobiela

Following on from the ‘filmed painting’ style of Loving Vincent, Polish filmmakers Hugh Welchman & Dorota Kobiela return with the use of the same animated technique in their latest film The Peasants (Polish: Chłopi).

Based on the novel published in parts between 1904 and 1909, the film is split into four seasons as we follow the life of a peasant girl Jagna (Kamila Urzędowska) in a small rural village.

The artistic young woman falls for a local married man but with word spreading around, inter-family conflicts boil over and the man’s father banishes his son and his wife from the village. However, as a recent widower and the richest man in the village, the wealthy father marries Jagna himself against her wishes.

Yet the affair continues in secret and is complicated when the village is persecuted by selfish landowners and the arrival of Russian troops which lead to far more serious consequences. The film portrays authentic period customs and culture, which intertwines with the rhythm changing of seasons. Capturing not just the rural lifestyle but also advancing the narrative which goes from serene to abhorrent violence during its duration.

From colourful markets and luscious wedding parties to the gorgeous tranquil countryside, the film has a stunningly rich look where canvas brushstrokes add a creative touch to stark locations. And alongside their elegant grassroot clothing, the fine detail on the faces of the actors capture their performances brilliantly too.

The director duo’s previous film Loving Vincent was our favourite film of 2017 (link) and once more, the glorious painting over the top of film frames gives the piece an exquisite visual style.

However, unlike that first movie, this admittedly fantastic technique – which is a joy to see again – feels somewhat superfluous here. Without the more specific link to a famous artist’s work, it could be argued that the film’s animated flair is close to being a gimmick.

Whereas the development of Vincent’s painting periods gave dynamic range to that film, the pastoral landscapes inspired by various Polish artists do not have quite the same variety this time. The neutral pastel palette again adds to this feeling. Whilst providing an earthy tone, it underutilises the creative canvas opportunities it has to play with.

However, a great score combines well with the old-fashioned music sung within the community itself to provide a fantastic sense of time and place.

This does leave room for more focus on story moments however, and a measured pace sees character development pushed forward with small-scale drama becoming more atrocious as we progress. And its focus on the persecution of a woman’s reputation echoes themes seen in Hawthorne’s The Scarlett Letter.

Reputationally, this legendary Polish tale is an historically important national piece of literature. Your engagement may depend on your passion for the slow pace of rural life over a 2-hour runtime. A fascinating glimpse into a past world for sure, but the epic novel adaptation is as hard going as its subject matter. No doubt intentionally so.

Like a traditional landscape painting, The Peasants captures a very specific moment in time, filled with historical touches, a deft creative hand and contains many subtle and heavy elements to contemplate. Similarly however, some viewers may find its unchanging style somewhat inert despite its positive attributes.

★★★

3 / 5

Michael Sales

The Peasants is in cinemas 8 December from Vertigo Releasing