[Rough Treatment] is the continuation of the line Wajda had adopted in the Man of Marble. A directly contemporary subject and a reporting style, quick, banal with no sophisticated symbols and in-frame compositions emphasise the shift in approach of the "romantic-baroque" plastic artist of the screen…. But in principle, Wajda is still deeply himself, a dramatic artist, violent, imposing his own philosophical point of view. The usual, the everyday, the trite—which are the essence of life—head toward tragedy in Rough Treatment. Wajda has never fitted into standard categories, Aristotle's logic, Cartesian motivation. His most epic subjects, such as Ashes or Land of Promise, as processed by him were seething internally. Those defiant, jarring, un-natural arrangements, are revealed again in Rough Treatment. The tempest of history—being the destructive moment, negation and calamity—are—as aesthetic and emotional principle—the inherent characteristic of Wajda's dramaturgy. In his...