POMIEDZY

Watchable. This 23-minute documentary, designed for school workshops, could do with a better cut. The opening with war images is immediately engaging, though not all protagonists are refugees. The middle is some blabber about what they do in Poland, with only occasional cultural trivia, e.g. Vietnamese nightlife is vibrant, streets are crowded and noisy so in Poland, empty streets at night feel sad. Still, the jokes over the end credits are the best. The whole thing is disappointing, too little entertainment and too much superficiality.

One of the protagonists passed away of Covid before he managed to see the film.

The film is already available on Heinrich Boell's Youtube channel, sadly in Polish only.

THOSE WHO WISH ME DEAD

Watchable. This movie shot in New Mexico has an unusual setting where a firewoman and a couple of survival experts are forced to fend against ruthless hitmen chasing a boy witness across woods. An inventive and engaging plot with some practical tips on surviving a wilderness fire. Only the creation of Angelina Jolie's character as a run-of-the-mill troubled superfit ultrasmart heroine detracts from this irregular story.

BEZ KONCA - EXHIBITION

The exhibition has opened at EC1 Łódź to commemorate Krzysztof Kieślowski's 80th anniversary of birth. I'm not going to Łódź but, as one of few media at a conference preceding the opening, I'm forwarding what I learnt. 

Since dialogue or monologue is typical for Kieślowski's films, the exhibition has been designed as a dialogue as well. You'll find scripts, letters, memorabilia, and recordings where you can listen to someone your age in 1970 answer Kieślowski's 3 fundamental questions.  

He overworked himself. In the past, lots of movie posters used to hang in cities because a poster was a make it or break it for an upcoming release. He smoked a lot and was withdrawn - the exhibition poster by Andrzej Pągowski reflects both. In the past, lots of movie posters used to hang in cities because a poster was a make it or break it for an upcoming release. While he often painted posters promoting the director's films, Kieślowski wasn't always happy about them. When Pągowski painted a double shoelace for "Podwójne życie Weroniki" ("The Double Life of Veronique"), Kieślowski didn't like it but didn't demand a change, unlike Wajda who would insist on specific alterations whenever he didn't like the artist's poster.

Scriptwriter Jacek Bromski commented on the lack of censorship on the Internet which has changed the perception of art nowadays. According to him, Kieślowski would put grassroots work (as I'd describe Polish pozytywizm) values into his films, he believed you have to build.

KRAJ (THE LAND)

Switched off. This random assembly of scenes that could take place in Poland is awfully amateurish due to theatrically looking sets, sometimes inadequate, e.g. a company which has embezzled a million is located in a derelict building. Poor actors, overlong dialogues, gross unfunny jokes don't raise the level of this production. Most importantly, it's a motley of incidents with no single protagonist to root for.

Seen online, cinematic reception might differ.

MY DARLING VIVIAN

Watchable. I guess you must be a big fan of Johnny Cash to be even interested in who his first wife was. Well, a very happy couple who led a perfect family life is dull to follow and the minutiae given by all four daughters are excessive. I continued intrigued by the life of Americans in the 50s and 60s. Then, when acrimonies arose, it became finally engaging on more than just the cultural level. At the end, you are finally told why the film had to be made and it becomes clear why it dwells on happiness for so long.

Seen online, cinematic reception might differ.

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LA SIESTA DEL CARNERO (THE RAM'S NAP)

Watchable. Cooking Chilean dishes in Spain, google-mapping, modern witchcraft - engaging, visually attractive but what's the meaning of all this? Seems to lack a point.

SOL

Recommended. The theme of the family takes centre stage for this wonderful drama with the delightful character of Solange (an excellent performance by Chantal Lauby). She's extravagant, smart, a trickster - though in good faith. She drives the movie

KAPTEIN SABELTANN OG DEN MAGISKE DIAMANT (CAPTAIN SABRETOOTH AND THE MAGIC DIAMOND)

Watchable. This cheerful Norwegian cartoon transports you to tropical islands, though with European houses, with realistic backgrounds, especially greenery and glistening water. While the plot consists of a standard set of adventures, distinct characters, including an extravagant pirate cook, lively dialogue - translated by Bartek Fukiet for the Polish dubbing - make it all engaging. Polish songs mar the pleasure but I loved the rhythms that surrounded me during the end credits. Before the credits, a protagonist announces a new adventure so I guess a sequel is on the cards. May be fun again.

OSTATNI KOMERS (LOVE TASTING)

Watchable. Released in time for the end of the school year, it's a very easy-on-the-eye movie about a bunch of numpties. Little is known in the story, least of all why one of the girls has a curator. The film is just an excerpt from the lives of 15-18-year-olds who spend the beginning of the summer smoking joints, having sex, dancing - good techno and some attractive dancing mean it's easy to follow this... no-story. There's no beginning, no ending, no plot as such. Young movie makers are well versed in acting, directing, shooting, sound making, editing. Authentic dialogue gives it a reality check. They just have nothing to say. This movie is typical for the generation: plenty of ways to say things with nothing to tell about. 

SPIRAL: FROM THE BOOK OF SAW

Watchable. In this spin-off, the focus is on the police investigation rather than the victims. Also, the victims are cops. Recorded in Atmos but separating the speech - heard from the screen and other sound effects which are audible from the side. Gore is everywhere, like in all of the poorer parts of the Saw franchise. The action is faster which results in no suspense. No one gets a chance to live so their sacrifices are invalid. As for the plot, I got a hint of who the murderer was, next came a red herring, finally my first suspicion got confirmed. Article 8 mentioned throughout the film bears no relevance to any existing law. Chris Rock produced, starred in the film, and even had a personal hairstylist. Jigsaw would have had his own opinion about this celebrity, sadly he's long dead. Like one of the protagonists said, "I'm underwhelmed".

THE CONJURING: THE DEVIL MADE ME DO IT

Recommended. This instalment of the franchise has a storyline varying from the previous as to the origins of the evil they're dealing with and because of the action focused round an investigation. It's scary from early on to the end of the music accompanying the end credits. No Atmos but the sound effects are impressive and succeed in frightening the viewer anyway. Quality horror.

10 JOURS SANS MAMAN (10 DAYS WITHOUT MUM)

Watchable. The plot resembles "De l'autre côté du lit" ("Changing Sides"), another French comedy, from 2008, with Sophie Marceau and Dany Boon - I preferred the earlier one. In the new one, the mum's gone from home for a holiday only and the career rival differs. Most importantly though, the change of actors detracts from the fun. Also, the story's on the sad side at times so I shed a tear every now and then. But I did laugh as well, especially at the sports tribune scene, where all families argue. It is entertaining after all.

MIASTO

Watchable. Having seen the trailer, I expected a crime thriller. Far from that. The movie is set in Bydgoszcz in two alternative times. A communist-era set-up is apt for film noir. And the visual layer, under Jan Jakub Kolski's artistic supervision, moving gradually from the grey reality towards higher contrast noir, all consistent with a grainy texture, uses a number of effects in an attempt to keep the viewer interested. Derelict buildings, a cobbled street, a canal - all shot in Bydgoszcz - ooze character. The downsides are: a barmaid wears a modern-fashion nose-ring - unheard of in communist times, the narrative pads out, I seriously considered walking out, it dragged so badly, and it all feels amateurish - with the exception of cinematography. Last but not least, famous and talented Polish comedian Stanisław Tym doesn't get even one funny line to say, instead, his looks are emphasized to make his face resemble frog's - lame and shame on the director to defame the renowned personality so badly.

LE VOYAGE DU PRINCE (THE PRINCE'S VOYAGE)

Watchable. An animated tale tackling our relationship with nature through an alternative reality. The concept of intelligent apes and the capture reminded me of "Planet of the Apes" but this film is totally different, not an actioner for sure. It's slow, observant. To me it was tedious, I broke it up a few times to be able to finish. I did watch till the end because I was intrigued to learn more about the characters and their world.

Seen online, cinematic reception might differ.

ADN (DNA)

Watchable. The first half focused around the funeral is sad but shot French drama way so you are forced to watch family members' close-ups, bickering, squabbling which leads the plot nowhere. The second half about searching for one's roots on a personal level and an inconvenient part of the history of France on a socio-cultural-national level is more touching. Still, the finale feels like a morality play addressed to the French.

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THE PROBLEM OF THE HYDRA

Watchable. A fascinating short artistic documentary about an animal so unusual I had to google if it actually exists. It does. Only slightly annoying music detracts from this wonderful artistic-scientific film.

SPACER Z ANIOLAMI (WALK WITH ANGELS)

Watchable. The beginning of this documentary is chaotic. It takes time to assemble the events in your mind since the film isn't helpful. Instead of an investigation - which finds a simple explanation, not unlike cases in Europe, you're taken for a walk through Africa: magic rituals, poverty, dumpsters where recycling is carried out both by working people and by scavenging birds. No conclusion to the search for the missing kid. Only a skillful cut combines the story into one long walk so that it eventually makes sense. The whole thing may be of interest to those who have no clue about Africa.

BERLIN ALEXANDERPLATZ

Recommended. This adaptation of Alfred Döblin's 1929 novel changes the protagonist into a modern-day refugee and strikes religious tones differently than in the literary piece, where the narrative was dominated by Franz's semblance to Job. That's still present in the movie, but he mostly wants to redeem his sins by being a good man. The opening is a kind of baptism in the water - the good man is (re)born. Next, he goes through the Stations of the Cross - manifested by a neon sign. As we hear in the narrative, "he stumbled and fell 3 times" and that happens step by step. On a secular level, some people get a raw deal in life and the film makes it clear who bears the brunt. It also deals with the vicious circle of economy: European countries sell guns to dictators, next people run from war and in their safe countries sell drugs to tourists. "Ich bin Deutschland" is some food for thought. While the book was inspired by film montage, this plays a role in the cinematic production too. Repetitions of the same effects in varying scenes make it all the more intriguing. Heavy breathing is heard in the opening, closing and at the running scene. Air shots are used extensively, including a woman and a man in the woods twice but in different configurations. Vierte Teil (Part Four) opens with a war-drums-like techno beat. It's contemporary Berlin so there's regular club techno too. Colours are used artistically, e.g. pitch black and snow-white skin of two lovers or a red sea and next red shower water. The adaptation proves the book is omnitemporal. Time will show whether the movie fills this criterion too. Speaking of time, it lasts 3 hours but not 1 minute is overlong.

LUCA 

Watchable. An American cartoon with the action set in Italy of mid-twenty-century. Nostalgia after the country of someone's ancestors? Italian banter, songs, culture, e.g. boys dreaming of a Vespa, a pasta devouring competition. It's sometimes tongue-in-cheek, e.g. they exclaim: "Santa mozzarella!" or "Santa ricotta!" It's a Disney animation so you can admire wonderfully translucent sea waters. Story-wise though, two boys who happen to be sea monsters - as a representation of nerds - after a series of muck-ups, end up making friends with others - obligatory for the genre - but also learn a lesson on how different people may react to "others". The story continues in the pictures in the end credits which, in turn, are followed by an amusing post-credit with Uncle Ugo. Sacha Baron Cohen dubs Uncle Ugo in the original. In Poland however, it's only dubbed in Polish.

DAD YOU'VE NEVER HAD

Watchable. A reunion with a father is no new subject. But this documentary, very personal, shot over one week, manages to present within half an hour the whole history behind it, the father's personality and world view, as well as how it has affected his daughter and other family members. Her exploration of his flat indicates the life she could have had. Early on he remarks: "Opowieść jest najważniejszą walutą" ("A tale is the most important currency") - not directly relevant to the case but some food for thought.

OSTATNI GWIZDEK (THE LAST WHISTLE)

Watchable. Another half-an-hour short film. Nothing new in a father-son relationship on the screen, nothing new in a coach-trainee relationship, finally a father doubling as a coach is no original protagonist either. The creator used to swim himself, having been to a sports school so the story's relevant to him and to growing up. But it's simple and derivative. Wonderful pictures of the sea at twilight and one picture-perfect shot looking like a postcard from a tropical island compensate for the very average plot. 

A curious fact from the Q&A after the film is that the actor who played the coach, Przemysław Bluszcz, doesn't know how to swim.

CHODZMY W NOC (INTO THE NIGHT)

Watchable. At first, I couldn't make out what this 30-minute film was about. But the teenage girls' relationship, the wonderfully shot club scene: the shabby wall with paint flaking off, dance close-ups, all both reflecting the atmosphere and presenting the characters together with natural dialogue eventually got me engaged in the story.

The teenage actresses are so convincing you can't tell it's their film debut (both for Kamilla Baar and for Nel Kaczmarek), and an acting debut for one (Nel Kaczmarek since Kamilla Baar had acted in the theatre before).

SOLAR VOYAGE

Watchable. A visual feast and a humorous biography of a genius engineer who didn't manage to profit from his invention. The most creatively depicted tale - due to the protagonist having withdrawn. The only drawback is that it lacks a strong message.

The director, now a lecturer of some technical subject, had studied graphics before. 

All the above four short films were professionally produced but lacked in the script.

MAGNEZJA (MAGNESIUM)

Recommended. By Maciej Bochniak, known for his earlier surprise marvel "Disco Polo". This time he has created another fantastical alternative Poland. The cinematography is stylised to resemble old photographs. Together with iconic images, costumes by Dorota Roqueplo, hairstyling, locations, specifically built set decoration it creates a kind-of-western based on the history of the Polish East. Outstanding performances by Maja Ostaszewska, Borys Szyc, Bartosz Bielenia each in an astonishing character, but also by everyone else, whether the role big or small. Italian songs with lyrics matching the events are tongue-in-cheek in this multicultural imagery. As for the plot, numerous twists of action, suspense, characteristic protagonists and a constant game with cultural associations totally absorb you. 

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DAS SPIEL (THE GAME)

Watchable. An interesting concept to depict a football referee as a show/film director. Quality editing - the 17' film was shot at 4 different stadiums. I guess you need to be a football spectator yourself to appreciate it more.

A PERFECT ENEMY

Watchable. Gripping from early minutes. As soon as a girl asks for a lift, you know she's going to play an elaborate psychological subterfuge, like in "The Hitcher". The movie's not all-enticing though, especially the first half. As the girl talks about the squalor and brutality of her childhood - watch out for gross-out bits - the repulsion she provokes feels pointless in the movie and only the finale clarifies the purpose of that part. Nevertheless, constant mind-game playing is intriguing. The girl, Texel Textor, is played with relish by Athena Strates - I bet the name isn't coincidental. Both lead actors: Tomasz Kot and Athena Strates are absolutely superb as the multi-layered characters. The second half keeps you on the edge of your seat and the finale ties up all seemingly loose ends. Even the end credits move in the opposite direction we're used to. Those looking for an intelligent psychological thriller will be satisfied

GODZILLA VS. KONG 3D

Watchable. Every generation seems to have their own Godzilla and their own King Kong. The current time is one for cross-overs. So the movie joins the storylines of Godzilla and Kong films of recent years and refreshes the viewers' memory reminding them of the main ideas - much needed and well done, however far-fetched such a cross-over is. The looks of the monsters are detailed and are really the only reason to bother. Maybe also for other decent visual effects and quality electronic music which livens up the tedious action. Underlit settings make all the film wearingly dark. The 3D is standard. All characters are two-dimensional. The story is monstrously (pun intended) de-braining. Not only is the plot quite rudimentary, but it is also full of holes and relies solely on special effects. 

LUCA 

I've seen it already but, due to a publication ban, I'll post the review no earlier than 16 June at 6 p.m. CET.

SCRIPT FIESTA

Three events are still available on Facebook. Two of them are:

EROTICA 2022 

Kaja Klimek's first question was to the point: about the cooperation between book writers and screenwriters. No one answered it, instead they talked about how they had got in touch. Luckily Kaja insisted. Olga Tokarczuk, before her Nobel prize then, wanted "the new surrealism", which is apparently a trend in literature now, to translate into the film. The writers worked on the set too, ensuring the actors say everything the way they intended. They also stayed in the wood, enjoying a holiday. Anna Kazejak wrote not about the future but about a reality where women are pressured on what they can or can't do and her protagonist slips out from this reality. Ilona Witkowska mentioned the perspective of our lives in the face of the climate disaster to be 30 years instead of 70 years. Naked scenes require a careful approach since once you get them wrong, you ruin them forever. The answers to the question about what writing is to them were interesting but of no practical value so I'm not quoting them.

Consecutive translation into English means it's better watched non-live so that you can skip one version to save time, the interpretation is sometimes incorrect. Though, on the other hand, it occasionally clarifies the Polish authors' meandering answers.

JAK POWSTALA EUFORIA

The meeting with Ron Leshem on how "Euphoria" came into being was more factual. His first advice was: re-writing the script several times takes 5-10 years so pick up what you're passionate about. Also, remind yourself over and over again of the one idea that the script originated from. He finds research more exciting than writing. He normally chooses the bodies he wants to be inside and feels compassion for. Once he's written, he doesn't want to be in that world anymore. He prefers to learn about new worlds. Only putting a mirror in front of the viewer's face and disturbing them can become an art. He remarks that nowadays lives of 17-year-olds and 40-year-olds don't differ much. "Euphoria" is a new quality because, while cinema has happened to present teenagers as adults, TV used to paternalise them, educate etc. Israeli series, with 100 scenes per episode, have 1/5 of the budgets usual in Europe. On the other hand, he once wrote a pilot on espionage which was adapted into Korean. American producers wanted "Euphoria" to be more like "Skins", more comic. But HBO got a new president, who was courageous enough. Sam Levinson fought his own addiction in his youth. Ron Leshem wasn't a 17 like this himself. For Sam, it was his personal story. Series producers require a tried and tested structure, that's why they use an algorithm. E.g. Tarantino follows an algorithm in his movies. TV is even more obsessive, they require the "Saving the cat" structure. That means drama writers need to know how it's going to develop and end. Exploring all possible journeys of a character requires a thought that lasts 6-7 hours, not our usual 20 seconds. In a drama, every disaster has a purpose and every evil has a reason so he finds comfort and solace in writing. And also because that gives him solitude as opposed to working as an executive with 300 other people. Netflix and HBO invest billions of dollars a year into the content. Every American home has an average of 4 different streaming services. There's a potential for watching TV in autonomous, self-driving cars. For the first time in history, there's a global platform for television. So cultural differences in shows stand out. He advises not to write before you've got the treatment and to go back to one-liners. If there's a problem, such strong roots will show what's not working. If a Hollywood executive calls your work brilliant, you won't hear from him once you leave the room. It's better when they have remarks what needs correcting - their ideas needn't be taken seriously but they point to where there's an issue. Otherwise, you'll be writing endless drafts. When you know your focus time - his is from 6 a.m. to noon - don't answer emails, don't waste that time. You have to work with someone you feel comfortable with. He also talked of the importance of "door opening" by renowned writers for the yet unknown ones. 

Kaja Klimek's comment about the interpreter sums up her English: "He's really the best. It's a great translator." Her pronunciation was comprehensible but sometimes off. Jan Kłoczko's overinterpretation was off too and sometimes even distorted the sense of what Ron Leshem said. At least Kaja Klimek's questions were to the point, smart and worth asking. Just as were Ron Leshem's answers.

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EX-NIHILO

Watchable. A poorly produced satire on film-making in the guise of creating a science fiction movie. Too theatrical in the form and too philosophical in the content. And while it's clear it's a satire, it's not amusing at all.

DRØMMEBYGGERNE (DREAMBUILDERS)

Watchable. The Danish cartoon about breaking and mending family ties is engaging, realistic in the daytime part and convincing in the dream layer. The story's immediately engaging, adventurous but not overloaded, even with several tender moments. Most importantly, anyone can relate to the events. The chess that split them, then brings them together, by means of the broken chessboard and scattered pieces. Sadly, the animation lacks detail. Colour divisions and scope could be better too. In Poland, it's dubbed in Polish only. No subtitled version.

POLICE (NIGHT SHIFT)

Watchable. I considered walking out from this French drama about police officers' daily lives but waited to find out what would happen to the expelled asylum seeker and to the lovers. Neither of the subplots gets concluded though. It's annoying how blondie Virginie Efira doesn't act, she just is there. Omar Sy as Aristide doesn't help. It's just a gloomy drama about day-to-day life of the police: home and work. Erik's character counterbalances Virginie and Aristide's approach but everyone is so sluggish nothing much is possible to happen anyway. A number of social issues are diluted by the poor direction of Anne Fontaine. Clear shots of the city at night add realism. But it's overloaded with the mundane already.

A QUIET PLACE PART II

Watchable. John Krasinski directs and appears as Lee again. Monsters turn up just a few minutes in. Sound and silence effects are adopted depending on whose eyes and ears we follow. Mild jump shocks make it more of a post-apocalyptic thriller rather than a horror. The movie drags till action starts in the second half. Plot developments are too much in your face, e.g. fire, water, sound enliven the action at the same time in the various locations the protagonists are in. The ending comes in time but with no conclusion. The money-making machinery is still in motion. Quality music accompanies the end credits. Recorded in Atmos but when watched in a Dolby room, the sound was so-so.

ETE 85 (SUMMER OF 85)

Recommended. Just about every time director François Ozon shoots, he scores. After being bang on target with ":'Amant Double" ("The Double Lover"), the man with the golden touch continues his run of success with "Été 85" ("Summer of 85"). Set in Normandy, which provides the scenic backdrop of cliffs, and reflecting the 80s to the point where even the film is grainy and as if aged, apart from obligatory clothes, hairstyles, boys wearing jewellery, music of the time. What's more, one of the lead characters is named Alexis, the name he prefers to shorten to Alex, anyway one most associated with a character from "Dynasty" - a long running TV series aired from 1981. The makers play with details. The movie's based on a novel and a protagonist writes one. In Alex's room you notice a poster of "The Awakening" which reads: "They thought they buried her forever". In the dance scene, his moves initially resemble David's and, even more remarkably, the song lyrics go: "Can you hear me?" "I am fighting to be free" "I am dying. I am crying." The film starts with a hot boy's intro which immediately throws a mystery into the puzzle. Soon another hottie turns up. In the middle, the announced death happens. The second half is grieving. The ending ties up loose ends. Nothing is left to chance.

SNIEGU JUZ NIGDY NIE BEDZIE (NEVER GONNA SNOW AGAIN)

Watchable. Another movie by Szumowska, known for "Body/Ciało" - which I walked out from and "Twarz" ("Mug") - which I loved. There's a line between original and weird. The new production is on the weird side. And it vastly consists of erotic dances and voyeurism - like in "Twarz" ("Mug") - has Małgorzata Szumowska run out of ideas? Snow and nuclear fallout in Chernobyl look the same so you can interpret the title optimistically that there won't be any disaster like that again or pessimistically that the climate change will render snow a thing of the past. Still, the topic is: spoilt rich housewives. A number of famous actors, e.g. Agata Kulesza, Maja Ostaszewska, Katarzyna Figura, Weronika Rosati and others are barely recognizable due to effective disguises. Wooden lead (Alec Utgoff) detracts from their efforts.

THE LITTLE THINGS. 

Watchable. Consulted by retired Sgt. Stanley White, it may well be grounded in reality. Star cast: Denzel Washington, Remi Malek, Jared Leto - all ensure a quality thriller. Remi Malek transforms his character from exuding confidence to a sheepish look when he's sitting at the pool in the ending. Jared Leto is convincing both as a weirdo and as an ambiguous personality. The beginning of the movie is a little confusing, hard to make out how many crimes they're solving and how many suspects they have. Soon, however, suspense comes in and quiet tension lasts till the very ending. The finale brings a mixture of satisfaction and frustration - is this the ending I wanted? Mixed-period interior designs, cars, town areas render the story timeless.

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MY LITTLE BLACK GIRL

Watchable. A smart film on being black. The guy tells seemingly his daughter but, through the position of the camera, the viewer, how to be a decent person. I agree with most of the rules. He sees faults on both sides: black and white. But first he tells his daughter not to support all the things that black people do and later, in the end credits, he dedicates the film to criminal George Floyd - doesn't he know who the guy was? On the other hand, "If you're in trouble, call the cops. That was a good one. But that's true! I mean, who are you supposed to call? Batman?" - that's truly a good one. Scary how it works. They can clearly only rely on each other.