“Cold War” is the story of star-crossed lovers Zula (Kulig) and Wiktor (Tomasz Kot) that begins in postwar Poland, spans a decade and moves over countries that include Yugoslavia, Berlin and Paris. There’s lots of glorious music and dancing, from Polish folk tunes to jazzy numbers, performed in places that range from smokey jazz joints to grand auditoriums.

Although Pawlikowski may have been joking, “Cold War” would make a great Broadway musical. Like nearly all musicals it’s a stormy love story told through love songs. In fact Kulig, who’s as feisty and bold as her character Zula in the film, was angling for the leading role if it comes to Broadway. “Acting, singing in my own voice, dancing, this is what I like the best — musicals,” giggled the actress.

“Cold War” is a love letter to the director’s parents. He dedicated the film to them in the end credits and the story is loosely based on their tempestuous relationship.

How close did it mirror their story I asked him at the after party?

(A-listers at the after party at included heavy hitters Jodie Foster, Gay Talese, Noah Baumbach, Mira Nair, Marisa Tomei, Salman Rushdie, Joe Wright and Haley Bennett.)

>“My father was a doctor and not a conductor as in the film. What was similar was he was ten years older than my mother and a more mature person at the beginning of their relationship. Then, when they met again in the West the roles were reversed. They did separate several times and married other people and then divorced them and then got back together again, abroad,” he laughed.

“Then they managed to quarrel again and so on, until they got too tired to fight. But this took 40 years, so it was a little bit more messy than this one (in the film.”

This must have been hard on him.

He shrugged. “At the same time they gave me a lot. I was the only child. It was dramatic, maybe traumatic, but at the same time they were really strong characters who gave me a lot separately. Now everything I know and feel about life is so much to do with their presences although I rebelled against them as a teenager. I was sick of their shenanigans,” he laughed.’

We finally got to a year with two big musicals– “A Star is Born” and “Bohemian Rhapsody.” So will they be deemed Comedy/Musical by the Golden Globes?

Uh, no. They will compete as dramas. That’s Lady Gaga and Queen, respectively, with big soundtrack albums and some laughs. The two, er, musicals, will go up against the likes of “First Man,” “BLackkklansman,” and “The Hate U Give.”  It’s a topsy turvy world.

The studios, they say, requested this categorization. Maybe they’re scared of “Crazy Rich Asians” in the comedy (but not musical category). Hard to say.

This will put the actors — Gaga, Bradley Cooper, Rami Malek– in drama, not comedy. That’s also where they’d go in the Oscars. At least in the Globes they’d be in their own section.

The Golden Globes, chosen by the Hollywood Foreign Press, are often a mystery unto themselves. A few seasons ago, they considered “The Martian” a comedy. It was a drama about leaving an astronaut behind in space. No one sang, and no one cracked a joke. It won.

As for comedy/musical now? “Crazy Rich Asians” will compete with “Mary Poppins 2.0.” Anyone who complains can just go fly a kite!

I’m not here to bury Megan Ellison. I like her a lot. When Megan (not to be confused with her billionaire father Larry) was making films, not distributing them, she quickly garned a top notch rep for good taste. She worked with smart directors who made cool movies with talented, hip actors.

But then Megan’s Annapurna Pictures– with unending money from Larry Ellison, who founded Oracle Corporation– wanted more too fast. She decided to distribute the movies. Since then, it’s all gone wrong. even Megan’s BFF, her president of production, Chelsea Barnard, is gone. Her other close colleague, Matthew Budman, with whom she was inseparable, left before that.

Annapurna has also start dropped out of projects. They just stopped “Fair and Balanced,” about Roger Ailes’s downfall, and the sexual misconduct at Fox News, directed by Jay Roach, before production. This was a stunner. But Larry Ellison– who is where the money comes from– is a pretty intense Republican. He’s given millions –he’s worth $54 billion — in the last election cycle to conservative PACs and candidates. Now that Annapurna’s fortunes are riding on Adam McKay’s $60 million “Vice,” about Dick Cheney, Ellison may have to concede the former VP is old news. But eviscerating Rupert Murdoch in “Fair and Balanced”? That was too much.

The bad news for Annapurna started in summer 2017 when she released Katherine Bigelow’s “Detroit” without marketing or publicity. A good film, “Detroit” died instantly and could not be resuscitated.

Today, all the trades are writing about Annapurna’s stunning spiral down. They’ve lost millions on “The Sisters Brothers,” which also had no prep except festivals and has died a stunning death in open.

Coming shortly is Barry Jenkins’ “If Beale Street Could Talk.” It was premiered last night at the Apollo Theater. “Beale Street” is not going to make money for Annapurna. It’s very dull, it’s no “Moonlight.” It’s too reverential an adaptation of James Baldwin’s novel. “Beale Street” is loved by critics who don’t want to admit that the film has limited commercial appeal.

What I’m worried about is Karyn Kusama’s “Destroyer” starring Nicole Kidman as a burnt out police detective. I saw it in Toronto. But since then the buzz has gone cold on Kidman’s stunning performance. Annapurna has not conveyed anything about “Destroyer” as the fall unravels. You can’t build word of mouth in a day. The “Destroyer” producers would do well to stop the clock, and move their film elsewhere for the spring.