Poland’s Oscar submission this year, Magdalena Piekorz’s film evokes the beauty and moral weightiness of the golden age of Polish cinema. And it makes sense--although she is a first time feature director, she has aligned herself with producer Krzysztof Zanussi, one of the greats of the medium. 12-years old and a victim of his father’s brutal, belt-bearing abuse, Wojciech struggles with the loss of his mother. In search of a reprieve from his misery, Wojciech turns to his teachers and his priest, but is met only with indifference and prurient interest, respectively. He finds one friend in Bartek, but must look within himself to find the strength to stand up to his father. A rumination on the remnants of childhood angst and abuse, The Welts chronicles Wojciech from his youth to his maturation into a grown man haunted by his past. But Piekorz’s portrait offers us hope for redemption, and in so doing offers evidence of a brighter future. A visually stunning film that boasts subtle and rich sound design, this Polish entry impresses both emotionally and cinematically. -ECBorn in Sosnowiec, Poland in 1974, Magdalena Piekorz has directed a number of documentaries, including Chicago (’02), Labyrinth (’99), Visitors (’98) Franciscan Spontaneity (’97), and The Girls from Symanow (’97). The Welts is herfeature debut.