Iona Petri: “Shaman” by Andrei Solowski. what happened to her?

The story of her acting discovery is like the case of a star “Ides”Agata Trzybuchoska. The two girls found their way to the movie straight from…a coffee shop. when Andrzej Żuławski Discover an interesting face in the new world, Iona Petrikovska – This is Petra’s real name – She was less than 20 years old.

“She had a red nose and red pants. That is it!” I said to the product that was with me are you crazy? – He answered me, I was sure. I asked her if she was interested in acting in the movie. She read the script and said yes, she was brave and agreed. She was not an actress and she did not attend any acting school. I think the actor is someone who has a diploma. To me, an actor is someone who can’t eat for three weeks and is ready (unnecessarily) to starve. (…) For me, Iona was an actress ”- Żuławski spoke in an interview with Sergio Nieza about how Petri implemented the plan “Shaman”.

“I was always attracted to acting. Already in high school, I attended actors with my friends, I took a speed acting course led by Gudejko to series of feelings Radoslaw Piwowarski. I can’t answer the question why I wanted to be an actress, but I know I wanted to. So when I got an offer to play a shaman, I didn’t think long. It was an opportunity to exist. I knew that such proposals are rare, “- she explained in an interview.

Before filming, Iona Petra had a week-long “training” with Armel Sprayer – the healer who helped Żuławski in his “Public Woman” (1984). Spire did sorcery.

The director explained that “if an actress wants to act, she should not have the mental resistance to pursuing this profession, and she should not indulge in internal clashes and complexes. These are matters of the sexual sphere in women.”

The story “Szamanka”, written according to the script of the famous writer Manuela Gritkovska, was the story of a “strange” and turbulent relationship between a young anthropologist Mikai and an unusual student named Italian. Iona Petra was an on-screen partner Bogoslav Linda. The theme of the painting was “sexual destruction equivalent to death at the height of ecstasy”.

Most of the feelings were caused by the sight of an Italian (Petra) eating the brain of her lover Michau (Linda). Andrzej Żuławski was accused of pornography, sadistic violence, lack of class and violation of all rules of good taste.

“Szamanka” did not have good press. Eight years after its premiere, in 2004, Żuławski’s film was recognized as the worst Polish production of all time. The newspaper “Super Express” presented its readers with a game to compile the list of the worst Polish titles. “It is not true that he did not like him. Unfortunately, he was not understood” – Sulaowski spoke about the reception of the film in Poland.

“In Poland, few people ever dare open their mouths on serious matters, and I have a habit of speaking in full voice in my films. Gretkowska flirts with her arrogance, and sometimes her crude words, ‘Ugly.’ There is a quiet drama of loneliness. And in the film itself I was fascinated by a mixture of The literal physicality of directing fantastic metaphysics. That’s all Gritkovska and such a script. It’s great material for a director” – Żuławski said in an interview with “Wprost”.

The director claimed that “Shaman” was a movie “about the daring collision between a system and the impulse of shooting.”

“The reaction of the church, right, was violent. They hated the movie, and wanted to kill me and me [Manuelę Gretkowską – przyp. red.], they stood in front of the cinema shouting “Don’t come,” while the 17-30-year-olds left. The right wing was behind the press and critics, and not only those young people who could write letters. I received about 2,000 letters of endorsement saying, “You did something so important to us, we didn’t quite understand the meaning, but we did realize that this movie was about freedom.” Freedom is the thing that is inside you, and I have imprinted it in you. The director admitted that the film also speaks to the audacity of the collision between order and impulse of motivation.

After performing in “Szamanka”, Petra left Poland. She worked in Milan as a model, and in New York she earned money as a waiter. In 1998 she appeared on the cover of “Playboy”, and in 2004 she made her debut as a writer with a collection of short stories “G Cabinet Żółcieni”.

“They began to bark at her: ‘You play naked, so you …’. She suffered for two years, and then got rid of this whirlpool of foolish insults” – concluded Solowsky.

“I was young and inexperienced, and the media was very aggressive towards me. An unjustified campaign was launched on me. Just a role” – she stated years later in an interview.

However, the information that the performance in “Szamanka” was her first acting is incorrect. As Iwona Petrykowska, she appeared in one scene in the 1993 movie Marek Piovsky “Agata’s kidnapping”. She played an imprisoned girl Rysiek, who surrenders herself on a haystack to a police officer in exchange for a guarantee of her lover’s release.

Her acting profile is complemented by two TV episodes in the series “Na dobre i na bad” and “Miasteczko”.

It’s been so many years for Iona Petra to be able to talk softly about Andrzej Żuławski and creation in his Shaman. “Forgiveness came with maturity. But I didn’t get rid of all the negative feelings about Andrei. I feel sorry for him because he sees the world that way. It reduces everything to sexuality.” “Expensive”.

In turn, in an interview with “Newsweek” in 2014, Petrie admitted that she … was looking for a job. “It would be perfect if I could find something related to my studies – I graduated in Art History at the University of Warsaw. But I would also be happy with office work. I like to be busy, and I like it when time passes quickly. I prefer getting into a whirlpool of tasks and I don’t know what It’s the time to constantly look at my watch and wonder that it’s only morning” – she delighted.

She admitted that she would like to return to acting. “I go to the castings (…) but (the proposals) do not appear,” she complained. We never saw her again in front of the camera.

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