an episode from The Idiot by Dostoievski. as start point for an admirable adaptation of novel. because it is not only a simple adaptation. not surprising because each film of Andrzej Wajda is not simple. his purpose is always more than accuracy of adaptation. but the message. powerful, convincing, source of self examination for the public. Nastasja is far to be an exception. at first sigh, it could be an eccentric experiment. a great Polish director using two Japanese actors for an adaptation of a classic Russian novel. in fact it is one of the most inspired choices. first for Prince Mishkin of Tamasaburo Bando. the vulnerability of character is splendid and precise reflected by this great onnagata. his words, his gestures, his voice. as tools for a realistic portrait of a not comfortable role. then, the portrait of Nastasia Filipovna by the same Tamasaburo Bando who reminds her status of reflection of his need of certitude and love and force and beauty. then, the fascinating Rugozhin by Toshiyuki Nagashima. his mixture of Japanese and Rusian traits of passion, fury, delicacy and egocentricity, selfish and generosity, his rude expression of emotions and the need of certitude.Wajda gives more than a beautiful adaptation. but an useful trip in the essence of characters. a new read of the novel. in new light, with high care for details. almost rediscover of its soul. because the Idiot becomes a contemporary story. a personal one. and the long dialogue between Myshkin and Rogozhin - map for define the other as yourself reflection. the film has another great virtue - to remember. Rusian and Japaneses films in their small details. different other performances. the air of Dostoyevski's universe. the roots of words.the aura of a literary masterpiece. not a film for a large public, it is a seductive instrument for the readers. and, sure, for the fans/public of the unique Andrzej Wajda.