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Tadeusz Konwicki's adaptation of Czeslaw Milosz's novel The Issa Valley is an adaptation of the latter's philosophy. Through a series of deliberately structured cinematic techniąues, Konwicki creates a film that is a platform where two outstanding individuals meet, rather than a battlefield where each tries to surpass the other. By drawing on the paradigmatic structure approach created by Herbert Eagle, I demonstrate that The Issa Valley's meaning is created not on the level of the storyline but rather through the repeated cinematic segments that build a second "narrative" line within the film. Milosz employs a similar strategy in his novel, which brings together both artistic styles, that of Milosz and that of Konwicki. Furthermore, the similarities between the artists' biographies (childhood in Lithuania, life as refugees, a shared Romantic tradition) brings an additional layer to the adaptation. As a result, The Issa Yalley film is a multilayered work that manifests not only Konwicki's artistic independence but also Milosz's artistic philosophy and even the afterlife of his art.

Screening Milosz's philosophy the multilayered construction of Tadeusz Konwicki's adaptation of the Issa Valley