{"id":30834,"date":"2026-05-22T09:47:41","date_gmt":"2026-05-22T06:47:41","guid":{"rendered":"https:\/\/msfilmfestival.fi\/?post_type=movies&#038;p=30834"},"modified":"2026-05-22T09:47:41","modified_gmt":"2026-05-22T06:47:41","slug":"kanal","status":"publish","type":"movies","link":"https:\/\/msfilmfestival.fi\/en\/movies\/kanal\/","title":{"rendered":"Kanal"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Master director Andrzej Wajda\u2019s (1926-2016) 1950\u2019s war trilogy came to mark the international breakthrough of Polish cinema. Between <\/span><i><span style=\"font-weight: 400;\">A Generation<\/span><\/i><span style=\"font-weight: 400;\"> (1954) and the landmark <\/span><i><span style=\"font-weight: 400;\">Ashes and Diamonds<\/span><\/i><span style=\"font-weight: 400;\"> (1958), he made <\/span><i><span style=\"font-weight: 400;\">Kanal<\/span><\/i><span style=\"font-weight: 400;\">, a portrayal of the uprising of German-occupied Warsaw in the autumn of 1944.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Driven into a desperate situation, a group of resistance fighters attempts to escape through the labyrinth of sewers beneath the city. The days of military honor culminate in hours of damnation amid filthy water and noxious fumes.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For Finnish viewers, an obvious point of comparison is another great war film, Edwin Laine\u2019s <\/span><i><span style=\"font-weight: 400;\">The Unknown Soldier<\/span><\/i><span style=\"font-weight: 400;\">, which was completed only a few years earlier. The two works share something in their exploration of group dynamics, but there is also a crucial difference. While Laine\u2019s tragedy plays out against the backdrop of nature, Wajda sets his film behind the facade of culture\u2019s beautiful, futile vanities. There is a carefully groomed Adonis, a composer playing fragments of Chopin, and of course Dante, whose inferno is echoed by the curving sewer tunnels. There is even young love. Is it precisely because of this &#8212; because of European culture &#8212; that the claustrophobia of <\/span><i><span style=\"font-weight: 400;\">Kanal<\/span><\/i><span style=\"font-weight: 400;\"> feels so monumental, and the devastation it depicts so absolute?<\/span><\/p>\n<p><em>Veli-Matti Huhta<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-31337\" src=\"https:\/\/msfilmfestival.fi\/wp-content\/uploads\/2026\/05\/4.2-bez-obrysu-czarne-250x241.png\" alt=\"\" width=\"172\" height=\"166\" srcset=\"https:\/\/msfilmfestival.fi\/wp-content\/uploads\/2026\/05\/4.2-bez-obrysu-czarne-250x241.png 250w, https:\/\/msfilmfestival.fi\/wp-content\/uploads\/2026\/05\/4.2-bez-obrysu-czarne-120x116.png 120w, https:\/\/msfilmfestival.fi\/wp-content\/uploads\/2026\/05\/4.2-bez-obrysu-czarne.png 639w\" sizes=\"auto, (max-width: 172px) 100vw, 172px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"Master director Andrzej Wajda\u2019s (1926-2016) 1950\u2019s war trilogy came to mark the international breakthrough of Polish cinema. Between A Generation (1954) and the landmark Ashes and Diamonds (1958), he made Kanal, a portrayal of the uprising of German-occupied Warsaw in the autumn of 1944. Driven into a desperate situation, a group of resistance fighters attempts&#8230; <a class=\"view-article\" href=\"https:\/\/msfilmfestival.fi\/en\/movies\/kanal\/\">View Article<\/a>","protected":false},"featured_media":30832,"template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-30834","movies","type-movies","status-publish","has-post-thumbnail","hentry","filters-special-screenings","filters-tekstitetty-ruotsiksi-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Kanal &#8212; Midnight Sun Film Festival<\/title>\n<meta name=\"description\" content=\"Master director Andrzej Wajda\u2019s (1926-2016) 1950\u2019s war trilogy came to mark the international breakthrough of Polish cinema. 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