In the elegant, silvery, and fascinating “Fatherland,” the Polish director Pawel Pawlikowski presents the latest chapter in what feels like a trilogy (though maybe it will be a quartet; his last feature, “Cold War,” was released eight years ago, and he’s the furthest thing possible from a predictable filmmaker). The movies in this unofficial series are quite different from one another, though they’re linked in striking ways. Each one is set in Europe during the Cold War; each takes on political and historical themes of unabashed momentousness; each is told in meticulously framed, lustrous black-and-white images that Pawlikowski, who started...
Monitoring Antisemitism Intel
