Synopsis
Treasure is a 2024 drama film directed by Julia von Heinz which is based on the semi-autobiographical novel ‘Too Many Men’ written by Lily Brett. It chronicles a father-daughter duo’s post-socialist Poland trip in 1991, shortly after the fall of the Iron Curtain for this family’s roots and family history. Initially it seems to be an exploration of self, but as the story unfolds, it takes a sharp turn grappling with resolute and timeless trauma, loss, and the Holocaust’s shadow.
The plot revolves around Ruth Rothwax, a fierce, piercing and emotionally protected music columnist from New York. It chronicles her journey towards her family’s homeland to see the places where her ancestors were born and where the majority tragically perished. Her accompanying partner is his father, Edek Rothwax, a holocaust survivor who has a strikingly different perspective. She is in search of quiet contemplation and understanding, and her father, charming and eccentric, uses the trip as a leisurely sightseeing adventure filled with absurdity.
Ruth and Edek’s relationship serves as a pivot for the film’s story. Ruth is analytical, contending with the burden of historical trauma, while Edek, appearing to have embraced some form of ‘carpe diem’ after enduring unthinkable suffering, seems to adopt the opposite approach. Their contrasting worldviews cause strain, but ample opportunities for connection also arise as they drive to places of significance, such as Auschwitz, Jewish cemeteries, and towns that were once bustling with Jewish life.
Along the way, they have to deal with a mixture of local attitudes—some are useful, while others are apathetic, and some even quietly antagonistic. These encounters reveal the intricate and at times uncomfortable reality of the Jewish-Polish legacy, especially the silence that frequently accompanies the Holocaust in places where it occurred. For example, Ruth’s neurosis intensifies when she feels that Edek’s anger has no bounds—especially when there seems to be no understanding of guilt being placed on the modern era. Edek’s perspective was more lenient and philosophical.
Regardless of the different insights, both characters undergo change. Ruth starts the film with a sense of rigid purpose, but by the end, she begins to accept the idea of healing. Edek deepens his relationship with his daughter as he relives some of his past through memories he has long chosen to forget.
The film’s emotional high point comes not from any grand or dramatic revelation and conflict, but rather through soft acceptance and recognition of shared love and pain.
Cast & Characters
Lena Dunham plays the role of Ruth Rothwax, portraying a combination of vulnerability, sardonic wit, and emotional intelligence. Dunham captures Ruth as a woman reminescing about her emotional and intellectual guard which stems from being impacted by a history she did not directly experience.
As Edek Rothwax, Stephen Fry brings both humor and depth to the character. Edek is not a typical proud, but rather multidimensional haughty survivor. Using his storytelling—often laced with absurdity— and wit, Edek reveals the darker side of his past.
Along with Zamachowski, Iwona Bielska and Maria Mamona play locals and people affiliated with the history of the Rothwax family.
Direction and Style
Julia von Heinz is the director of this story, and she treats it with delicateness. There is no excessive dramatization or conflict in the story—it depicts life as it is in a profoundly striking manner, and the character’s emotional transitions, however small, are portrayed very smoothly. Daniela Knap’s cinematography showcases Poland’s landscape and its somber magnificence and historical significance. The film employs a sense of veneration to empty roads, abandoned structures, and ancient graveyards, which evoke the themes of reminiscence and grief the film embodies.
The visual aesthetics of the film contain muted and soft tones with grayish clouds, decaying rocks, and trees in winter, and although these represent the crushing reality of the story, some scenes contain cheerfulness and warmth that emphasize Edek’s hopeful spirit.
Music and Editing
The film’s score is composed by Mary and Antoni Komasa-Łazarkiewicz, and it is gentle and subtle; especially in this film, where Komasa’s score provides a reflection rather than an overwhelming, guiding tone.
Sandie Bompar’s editing style reflects her deliberate approach—slow pacing allows viewers to absorb the film’s contemplative nature. Such deep, slower tempo suits the film’s reflective nature perfectly, though it may risk alienating some viewers who expect a cut of urgency.
Themes
Treasure Treasures a collection of profound themes:
Intergenerational Trauma – Ruth is an example of the second generation of Holocaust survivors who tend to carry an emotional burden consisting of grief along with unanswered questions. Her emotional journey is more than about understanding history; it is about healing from the pain that was never expressed, inflicted through her family.
Memory and Identity – How do we remember? What do we choose to forget? In what manners do personal and collective memories shape our existence? This film explores those questions. Ruth and Edek engage in emotional archeology: digging up not just family history but their own unresolved emotions.
Forgiveness and Reconciliation – The explanation for Edek’s lighter attitude is not denial of his past but rather a coping mechanism. His ability to afford some level of forgiveness, or at least the ability to move on, runs counter to Ruth’s insistence on acknowledgment and justice.
Jewish Legacy in Europe – The film comments through Ruth and Edek’s experience in modern Poland regarding the complicated legacy of Jewish history in Eastern Europe which is one of obliteration, silence, and sometimes uncovering.
Reception
Responses to Treasure have been mixed. Numerous commentators noted the performances of Lena Dunham and Stephen Fry, particularly their emotional interactions, as outstanding. The film was noted for effectively blending humor with more serious themes, achieving a unique mix of light-hearted banter intertwined with historical gravitas.
On the other hand, some critics pointed out issues with the film’s pacing and shifts in tone. Tragicomedy’s balance is intricate, and some viewers felt the film struggled to achieve this equilibrium consistently. A couple of critics noted that while the film is moving and contemplative, it does avoid some deeper political or historical scrutiny in favor of more character-centric storytelling.
General audience reception has leaned towards positive. The blend of humor and solemn topics was particularly moving for those personally associated with the Holocaust. Other viewers appreciated the more intimate approach to historical trauma, resonating with the blend of humor and poignancy.
Check my works cited list.
tesk is a moving, multi-layered film examining the haunting scars left from the holocaust through the prism of a father-daughter trip. The film centers on father-daughter relatioships and avoids sensationalism by focusing on their conversations. The film captures the essence of memory, identity, and healing. Lena Dunham and Stephen Fry’s portrayal ensures that there is enough levity and laughter amid the serious themes of the film’s retrospective to keep the viewers riveted.
Tesky isn’t a fast-paced drama, but it rewards the more patient viewers with profound emotional subtleties and insights. The film explores the multitude of ways we remember, carry history within ourselves, and emphasizes the notion that sometimes, love and understanding can patent be the most valuable treasure.
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