Rent The Hourglass Sanatorium (1973)

3.7 of 5 from 83 ratings
2h 4min
Rent The Hourglass Sanatorium (aka Sanatorium pod klepsydra) Online DVD & Blu-ray Rental
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Synopsis:
A young man Joseph (Jan Nowicki) visits his dying father Jakob (Tadeusz Kondrat) in a mysterious Polish sanatorium. Joseph realises time does not exist in its real form inside. He soon finds himself in a web which express the longings, and frustrations of his childhood. The film contains crazed scenes of Jews dancing together and many of the residents are dressed as giant birds. Schulz the writer was seen as the Polish Kafka, he was killed by the SS in the War.
Actors:
, , , Halina Kowalska, , , , , Henryk Boukolowski, Seweryn Dalecki, , , , , Wojciech Standello, , , , Michal Szwejlich,
Directors:
Writers:
Wojciech Has, Bruno Schulz
Aka:
Sanatorium pod klepsydra
Studio:
Mr Bongo
Genres:
Classics, Horror, Sci-Fi & Fantasy
Collections:
New waves of Polish Cinema, What to watch by country
Countries:
Poland
Awards:

1973 Cannes Jury Prize

BBFC:
Release Date:
01/09/2010
Run Time:
124 minutes
Languages:
Polish Dolby Digital 2.0
Subtitles:
English
DVD Regions:
Region 2
Formats:
Pal
Aspect Ratio:
Full Screen 1.33:1 / 4:3
Colour:
Colour
BBFC:
Release Date:
19/03/2012
Run Time:
125 minutes
Languages:
Polish DTS-HD Master Audio 2.0
Subtitles:
English
Formats:
Pal
Aspect Ratio:
Widescreen 1.85:1
Colour:
Colour
BLU-RAY Regions:
(0) All

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Reviews (1) of The Hourglass Sanatorium

The Past Is Delayed - The Hourglass Sanatorium review by griggs

Spoiler Alert
12/07/2025


The Hourglass Sanatorium was recommended to me as a warm-up to a forthcoming trip to Kraków—well, if this is the vibe, I may rethink the visit! Though not set there, parts were filmed in the city, and the mood is certainly… distinctive.


Wojciech Has adapts Bruno Schulz’s surreal stories into a full-blown dreamscape. Think crumbling corridors that open into jungles, trains that lead to crypts, and time that loops, folds, and collapses. It’s visually stunning, and the sustained dream logic rivals Fellini, Tarkovsky, and Jodorowsky.


Beneath the spectacle lies something sadder: a meditation on memory, possibly even dementia, as a man wanders through fragments of his past. But while the film trades heavily on empathy and loss, it doesn’t extend the same care to its women. They’re fantasies—naked, idealised, or ignored—and even his mother barely registers.


Then there’s the lingering question of what’s missing. Schulz was Jewish, murdered by the Nazis. His mysticism remains, but the film feels filtered through a distinctly Polish Catholic lens. Is that erasure, appropriation—or just interpretation?


I’m glad I watched it. But for all its beauty, it left me uneasy—an exquisite mausoleum of memory, with some ghosts best left unburied.


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