Treasure Review: Holocaust Inheritance On a Journey of Understanding

Julia von Heinz brings a complex father-daughter story to life in her latest film, Treasure. This poignant drama follows New York journalist Ruth Rothwax, played by Lena Dunham, as she journeys to Poland to piece together her family history. Accompanying Ruth is her charismatic father Edek, portrayed wonderfully by Stephen Fry. Edek is a Holocaust survivor who would rather leave the pain of his past behind than revisit it.

Based on the semi-autobiographical novel Too Many Men by Lily Brett, Treasure explores how Ruth and Edek wrestle with their conflicted views on confronting generational trauma. Von Heinz deftly handles this sensitive material, touching on universal themes like grief and reconciliation. While grounded in a specific cultural context, the story bears a message that resonates across barriers.

As they retrace Edek’s roots across Poland, stopping at painfully familiar sites like Auschwitz, we witness a complex bond tested by the weight of history. At times humorous and at others heartbreaking, their journey unearths more than Ruth ever expected. Treasure promises an emotional ride, led by Dunham and Fry’s genuinely affecting performances.

Reluctantly Revisiting a Painful Past

Ruth, a 36-year old Jewish-American journalist living in New York, decides to travel to Poland in 1991 to connect with her family history and understand more about her father’s life before he settled in America. Her father, Edek, is a Holocaust survivor who rarely speaks of those painful memories. After Ruth’s mother recently passed away, she felt compelled to visit Poland and the sites related to her father’s tragic past, before they faded from memory completely.

Though initially hesitant to join, Edek ultimately decides to accompany his daughter on the journey at the last moment. After Ruth waits for days alone in a Warsaw hotel, Edek finally shows up just before she boards the train bound for their family’s hometown. It quickly becomes clear Edek plans to undermine her carefully laid travel plans. While Ruth tries organizing trains and tours, impatient Edek steers them towards spontaneity by befriending a local cab driver instead.

As they visit places like the Łódź apartment Edek lived in as a child and the factory his family once owned, the gulf between Ruth’s sense of duty to engage with the past and Edek’s longing to let it rest unseen comes increasingly to the fore. Ruth seeks tangible connections to her roots, even buying back cherished items owned by Edek’s family. Yet her father remains reluctant to linger anywhere history may emerge to confront him.

After tensions escalate, the estranged pair finally reach a kind of resolution during an emotional visit to Auschwitz-Birkenau itself. As Edek recalls his own anguished memories there, he seems to make peace with Ruth’s need for closure regarding roots he himself severed long ago. While far from suddenly inseparable, father and daughter depart with a new understanding forged through loss.

Captivating Performances

At the heart of Treasure lies the turbulent relationship between Ruth and Edek, brought vividly to life through Lena Dunham and Stephen Fry’s emotionally affecting performances. As Ruth, Dunham taps into her signature sharp wit and defiant spirit we know from Girls, while layering in more vulnerable notes as her character’s hidden pain surfaces. Dunham bravely leans into Ruth’s complexities, playing her with an authenticity that makes us invested even when she behaves questionably.

Meanwhile, Fry navigates Edek’s profound trauma with nuance and depth, allowing glimmers of his profound heartache to pierce through the jovial, smooth-talking exterior Edek projects. In lighter moments, Fry brings an infectious charm to Edek’s outrageous candidness about sexuality and disregard for propriety. Yet he movingly strips away Edek’s bluster during vulnerable scenes confronting Auschwitz’s lingering grip on his psyche. Despite Edek’s reluctance to unearth his agonizing memories, Fry ensures we deeply feel their constant, invisible burden upon him.

Providing an endearing counterpoint is Zbigniew Zamachowski as Stefan, the kindly Polish cab driver who shepherds Ruth and Edek across Poland. Thanks to Zamachowski’s thoughtful presence, Stefan’s understated yet vital supporting role binds the film together. His little quirks and telling reactions provide levity amidst Ruth and Edek’s feuds, while hinting at his own complex response to their often callous quarrelling. Together, this gifted trio realizes wonderfully human characters who draw us into Treasure’s poignant emotional core.

Examining Intergenerational Trauma

At its thoughtful core, Treasure explores the complexities of inherited generational trauma through Ruth and Edek’s fundamentally different coping strategies. While Edek seeks to bury Auschwitz’s haunting grip on his psyche, Ruth feels compelled to unearth answers about her father’s profound anguish she senses yet cannot access. This disconnect highlights our varied responses to grappling with family legacies of suffering we ourselves did not directly experience.

The film also touchingly probes themes of cultural identity and ancestral connection. As a child of Holocaust survivors raised American, Ruth seeks to reconcile her disconnect from her Polish-Jewish lineage a continent away. By returning to sites tied to Edek’s pre-war life, she hopes to process his pain by proximity and forge a tangible bond to her roots. Conversely, Edek resists reopening these wounds or claiming any lingering kinship to his former homeland. Their contrasting attitudes underscore deeply personal questions around culture, family history, and how the past reverberates through generations.

Quietly yet indelibly, Treasure also paints a nuanced portrait of Poland itself in 1991 – an Eastern Bloc state just emerging from Communist rule and beginning to confront its own complex role in the Holocaust after decades of suppression. Through Ruth’s eyes, we witness a nation riddled with post-war ruins and scars of tragedy, its people wary of scrutiny yet increasingly unable to avoid hard truths. This thoughtfully rendered backdrop contextualizes the social climate Ruth and Edek warily immerse themselves within while delving into their poignant personal story.

Evocative Direction and Design

In navigating such weighty themes, director Julia von Heinz brings a sensitive, thoughtful touch to allow complex emotions to unfold organically. Avoiding melodrama or manipulation, she deftly stages intimate character moments immersed in Treasure’s richly rendered 1990s Polish setting. Von Heinz’s assured storytelling equally balances Ruth and Edek’s personal arcs, while steadfastly grounding their journey in its unique cultural context.

Beyond the director’s emotive vision, the stellar production design transporting us to post-communist Poland and meticulous costuming add enormously to Treasure’s authentic atmosphere. Production designer Katarzyna Sobańska vividly conjures the world Ruth and Edek traverse – all drab hotel bars, soot-stained apartment blocks, and fading grandeur clinging to a Lockean past. Every frame feels redolent of a pivotal transitional period economically and socially.

While mostly relying on intimate camerawork in interiors, cinematographer Daniela Knapp allows Ruth and Edek’s visit to Auschwitz to play out in chilling wide shots conveying an emotional distance between the pair and site of historical horror. As our duo depart Birkenau in a golf cart, Knapp’s lens lingers on cold fences and barracks receding – a stark visual metaphor for Edek precariously outrunning his grief even here. Such skillful framing choices thoughtfully augment the story’s reflective mood.

Through empathetic writing, direction, design, and lensing, the world of Treasure comes alive – at once tactile and subjective. We are fully transported into Ruth and Edek’s Polish odyssey to confront the shadows of their intertwined heritage.

An Affecting Dramatic Triumph

Treasure represents a dramatic high point in director Julia von Heinz’s exploration of generational trauma, elevated by the genuine depth and honesty of Dunham and Fry’s central performances. While more sprawling ensemble dramas may probe Holocaust grief with wider scope, Treasure’s tight focus on one strained father-daughter dynamic proves an impactful prism through which to examine enduring ripples of suffering.

In Ruth and Edek’s tension between clinging to pain or running from it, the film locates a profound emotional truth about the reverberations of tragedy in family history. Von Heinz largely resists letting Treasure slip into sentimentality or platitudes, instead allowing the thorny relationship drama between Ruth and Edek’s contrasting coping strategies to play out. While they reach some closure during their visit to Auschwitz, the film closes without definitive answers about the “right” way to carry inherited grief – just glimmers of mutual understanding.

With source material this personal, there were risks of falling into clichés had von Heinz relied solely on Stephen Fry to extrapolate Lily Brett’s father. But the director wisely opts to make Ruth equally central in exploring impacts of the Holocaust across cultural lines and generations. Choosing Lena Dunham proves an inspired route into immediate, chaotic emotions around such painful legacy, while Fry grounds Edek in gentle wisdom. Between them emerges an enriching discourse on the duty we owe to our ancestors’ suffering – and how to balance that with simply living.

For audiences seeking a layered character study swimming in cultural specificity rather than bold revisionist takes on the artistic possibilities of Holocaust media, Treasure delivers an enormously moving portrait woven by the strength of its leads’ chemistry. Come prepared for tears and conversations about the way we inherit both joy and pain before leaving touched by the grace with which von Heinz and her stars shine light on that familiar yet endlessly complex dilemma.

A Story Worth Witnessing

Simultaneously sweeping and personal in scale, Treasure marks an emotionally accomplished highlight in Julia von Heinz’s stellar filmography. She brings Lily Brett’s semi-autobiographical novel to cinematic life with style, weaving together universal themes of family and reconciliation within one woman’s quest to stitch together fragments of her Polish-Jewish lineage’s tragic history long left unspoken.

At its hyper-specific core lies a wide-resonating story of loss and closure. Through Lena Dunham and Stephen Fry’s psychologically rich yet playfully confrontational chemistry as estranged daughter and father, the film digs into tortured spaces between generations impacted by Auschwitz’s torment yet divided in their engagement with its enduring shadows. Their gradual reconciliation becomes not a neat catharsis but rather a meeting halfway through pain on hallowed ground at Birkenau itself.

While Treasure technically revisits a grim history rendered onscreen before, the revelation here is nuance – not sweeping revision but attention given to private turmoil of public tragedy refracted through time. We come away rediscovering known horror through newly touching eyes.

For any seeking a character drama rewarding in emotional authenticity over daring innovation or scope, Treasure may prove perfectly haunting. Skip it for experimental takes on rendering history, but don’t for moving performances and resonant generational themes destined to linger for decades to come much like real trauma itself.

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