Poland’s cinematic landscape has evolved significantly over the last decade, bolstered by a robust domestic market that has nurtured a surprisingly productive industry. In recent years, this landscape has expanded beyond its borders, with Polish authors increasingly finding audiences abroad. Much of this momentum has been driven by a fascination with the atmospheric, character-driven narratives of Scandinavian "nordic noir" thrillers. Consequently, a wave of Polish crime dramas has emerged, aiming to replicate that distinct blend of melancholy and suspense. One of the most commercially successful examples of this trend is The Plagues of Breslau, a 2018 film written and directed by Patryk Vega. While the film succeeds as a pulpy genre exercise, it also highlights the polarising nature of Vega’s approach to filmmaking, which prioritises commercial appeal over critical sophistication.
The film is loosely based on the eponymous novel by Marek Krajewski, a crime fiction author celebrated for his series set in his native Wrocław, known as "Breslau" in German. The original novels, part of the "Breslau cycle", feature the fictional German detective Eberhard Mock working in the city’ during Interwar period. However, Vega’s script makes a significant departure from the source material. The setting is transposed to contemporary Poland, a new protagonist is introduced, and the plot undergoes substantial alteration to suit a cinematic format. The narrative centres on Helena Rus, a female homicide detective played by Małgorzata Kożuchowska. Helena finds herself confronting a vicious serial killer whose work is far from ordinary. The investigation begins in gruesome fashion with the discovery of a victim sewn into cow hide, which subsequently shrinks under the sun, crushing the unfortunate individual to death. As the body count rises, the police are plunged into a week of citywide mayhem.
The antagonist's methods escalate to an almost operatic level. Another victim meets a spectacular demise, torn apart by runaway horses, an act that also leaves Helena’s partner, Jarek "Bronson" (Tomasz Oświeciński)), comatose. Helena is not alone in her investigation; she receives assistance from Iwona Bogacka (Daria Widawska), a profiler sent from the central bureau in Warsaw, played by Daria Widawska. Bogacka serves as a bridge to the film’s historical subtext. She posits that the killings mirror the "Plagues of Breslau", a campaign of public executions ordered by Prussian king Frederick the Great in 1741 to establish law and order in the newly conquered city. The theory suggests the victims were involved in activities condemned by Prussian monarchs centuries ago, though Helena speculates that the true commonality is that they wronged the killer.
The investigation is further complicated by the presence of a PR-obsessed prosecutor (Andrzej Grabowski) and a ruthless television reporter Agnieszka Lenarcik (played by Maria Dejmek), both of whom hinder Helena’s progress while chasing their own agendas. The narrative builds toward a climax that reveals the killer’s identity and implicates some of the country’s most powerful men, all while weaving in Helena’s own tragic past.
From a directorial perspective, Vega is a figure of significant commercial success in Poland, yet he remains a source of hostility among the country’s more snobbish critics. Plagues of Breslau serves as a prime example of why this antagonism exists. The film features a very simple premise, one that Vega unapologetically channels from David Fincher’s Se7en. The author has clearly opted to avoid any "deep" or profound content that might risk alienating audiences or extending the runtime beyond the standard hour and a half.
Vega’s direction is characterised by a highly dynamic style, utilising rapid editing and attempting to cram as much exposition into as few scenes as possible. This relentless pace results in a film where, with the exception of the two female leads, all the characters are rendered one-dimensional. The narrative sacrifices nuance for the sake of momentum, a choice that leaves the viewer with little emotional investment in the supporting cast. To compensate for this lack of depth, Vega relies heavily on shock value. The murders are incredibly elaborate and spectacular, designed to stun the audience rather than provoke thought. For instance, the film includes an immolation scene that takes place during a performance of Eugene Onegin at the Wroclaw Opera, a sequence that is visually arresting yet logistically baffling given the impossibility of a single individual conceiving and executing such complex schemes.
The reliance on such theatrical violence, however, does have its merits for less discerning viewers. The film manages to maintain attention through a couple of interesting twists and an unconventional ending that subvert expectations. In terms of performance, Małgorzata Kożuchowska and Daria Widawska stand out. They are afforded more screen time and character development, allowing them to leave a good impression despite the material they have to work with. Kożuchowska, in particular, struggles slightly with a questionable choice of hairstyle that draws attention away from her portrayal of a hardened detective, yet she anchors the film’s emotional core.
Ultimately, The Plagues of Breslau is a product of its time and genre. It is a grim drama that can be unsettling in a way that mainstream Hollywood crime dramas often avoid. While it ultimately fails to be a masterpiece of the Polish cinema renaissance, it offers a diverting, if formulaic, thriller that prioritises visceral spectacle over intellectual engagement. For viewers looking for a straightforward crime caper with a twist, the film delivers, even if the path there is paved with the debris of a sacrificed narrative.
RATING: 5/10 (+++)
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