Summer Love (Dead Man's Bounty) (2007)
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Summer Love is fraught with feverish moods, bold imagination and a devilishly complicated exploration of the genre's iconography. It is also maddeningly paced, often like watching paint dry, albeit paint that's the garish tones of buckets of blood.
Uklanski distances himself from the material at every turn, until it's difficult to distinguish the ironist's wit from the cynic's smirk.
Summer Love feels more like a haphazard assembly of loose-knit components, jumbled together with obvious affinity for all varieties of a distinctly American genre.
By eschewing any attempt at storytelling or character development, a film with all of the Western's fecund imagery and putrid fumes still ends up feeling as flat and distant as a gallery wall.
This pierogi western disassembles the genre mechanics of the gunslinger movie and makes a Dada collage of its gears and springs.
Summer Love has been called the first Polish western and the first Polish spaghetti western, though the truer description might be the first deconstructed art western.
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