As a film enthusiast with years of experience under my belt, I find the current state of Polish cinema to be nothing short of inspiring. The new wave of directors is pushing boundaries, exploring diverse stories, and giving voice to characters that have long been overlooked – such as the elderly and women.
The 40th installment of Poland’s Warsaw Film Festival is putting its faith in up-and-coming Polish directors, many of whom are making their first films.
According to the programming director, Gustaw Kolanowski, this event functions similarly to a trampoline, providing a boost. However, launching a feature film premiere in Poland remains quite difficult.
In my own words, I’d say: “Let me tell you, navigating this path wasn’t a breeze. Finding a producer who would back a film that was both subtle and profound, yet powerful, proved to be quite a challenge for me – the one behind ‘Where Do We Begin,’ a story about three siblings and their mother as they navigate life after their father’s passing.
I’ve deliberately chosen my career path and patiently waited for the right moment to tell this story. I was suggested to pursue sensational, contentious topics, but this film is deeply rooted in genuine feelings. Could it be that there are not enough tranquil voices [in Polish cinema]? Those who listen rather than speak?
Dominika Montean-Pańków, director of “The Crossroads,” stated: “It often takes a female director around five to six years to direct her first full-length film. My focus lies in creating metaphysical cinema, exploring the essence of the human spirit and mind. However, the industry has grown increasingly competitive as producers are bombarded with scripts from both newcomers and established professionals.
Film director Piotr J. Lewandowski, who hails from Warsaw but works in Germany, contends that because of financial constraints, joint productions and collaborations between countries will likely increase in popularity. However, he adds a caveat: “These partnerships necessitate incredible perseverance. We’re discussing waiting for years,” he explains.
I’m thrilled to see so many courageous films being produced in Poland, and I genuinely hope this trend continues. Personally, I aspire to create a film there myself. Yet, whenever I converse with fellow filmmakers, I often find we share similar struggles, primarily related to financial hardships.
In an open disclosure,” the creator shared that the majority of the production costs for the film titled “Unspoken,” which tackles sensitive topics like sexual abuse and trauma, were covered by him personally.
Though this choice has brought challenges along, I stand firm without any regrets. This is a deeply personal endeavor for me. I strongly feel that narratives like these should be shared to aid others in navigating their own journeys.
Justyna Mytnik also deals with trauma and sexual violence in her debut “Wet Monday.”
The movie aims to illustrate that at times, survivors of sexual violence may feel shamed not only by their perpetrators, but also by their loved ones. It’s important to remember that the burden of pain isn’t solely the responsibility of the ‘villain’. This project is supported by the SEXEDPL foundation through an awareness campaign.
Marta Gmosińska, producer at Lava Films who presented ‘The Girl With the Needle’ at Cannes, expressed her optimism that our production will make an impact. She’s glad that many in our generation are voicing concerns about sexual violence and abuse, each from their own unique angle. She encourages fellow producers and directors to speak up against this issue, break the silence, and end the stigma.
Mytnik began crafting the movie seven years back, a lengthy trek he described as such, but aligning with Lava Films for co-production proved challenging. Despite this, there’s optimism following recent political shifts in Poland and the removal of the Law and Justice party, a right-wing populist group. Many anticipate better days ahead.
In simpler terms,
During this period, directors are advocating for greater diversity within their casts, frequently including elderly actors. For instance, from Montean-Pańków, who brought acclaimed actor Jan Englert into “The Crossroads,” where the tranquil life of an 80-year-old is abruptly disrupted by a car accident – “It was a lesson not just in filmmaking but also in life” – to Bartosz M. Kowalski, whose horror “Night Silence” unfolds within a retirement home.
He mentioned that the production of this movie was not possible due to two reasons: firstly, the majority of the cast are elderly individuals, and secondly, the storyline itself. Unfortunately, our lead actor Maciej Damięcki has since passed away. I fervently hope and am confident that he is looking down on us and feels proud of this film.
In her observations, Aneta Nowicka points out that as society grows older, this change will be mirrored in films. She’s currently engaged in a project highlighting two elderly sisters who live life autonomously and share an extraordinary connection. According to her, what’s lacking today is genuine relationships like theirs – a strong bond between individuals. Meanwhile, she also presents a documentary titled “The Coal’s Daughter,” focusing on women in the mining industry, at the festival.
She aimed to provide a platform for them, who have often been overlooked compared to miners. This was not only a chance to step out of the family tradition but also to establish herself as a director. Navigating a male-dominated film industry, she had to confront the notion that, as a newcomer, she might not be capable of directing this movie.
I feel that women are underrepresented in a powerful way across global cinema, not just in Poland. In documentaries, the older male demographic still holds significant influence. Making independent films is challenging and even harder to distribute, yet there seems to be a demand from viewers for authenticity and real-life narratives. I’m optimistic that upcoming artists like us can contribute to this growing trend that appreciates originality and depth in storytelling.
Polish filmmakers are exploring fresh tales and styles, ranging from horror to magical realism and fantasy in “Wet Monday”. Gmosińska expresses interest in seeing more films like “The Substance” being produced by the Polish industry. The Warsaw Film Festival will commence with “Kulej. All That Glitters Isn’t Gold”, a film by Xawery Żuławski about a renowned 1960s boxer and his spouse.
Kolanowski states that they aim to kick off the festival with a significant Polish production. Although it’s an international event, it carries a strong connection to Poland. The biopics from Watchout Studio, such as ‘Gods’ and ‘The Art of Loving’, have received positive feedback from both viewers and critics, and Kolanowski is hopeful that ‘Kulej’ will garner the same response.
The festival anticipates modifications after the departure of its longtime director Stefan Laudyn, who has been in charge since 1991. They plan to “broadening their industry events,” initiating with the two-day KIPA Days and Warsaw Next, which is designed to connect film schools with the industry.
Eliza Subotowicz, leader of Warsaw Next, explains that the program has shifted its emphasis to extensively developing scripts. This change is crucial as Polish cinema struggles with a long-standing tradition – the ‘auteur’ legacy – which dictates that directors should write their own screenplays, regardless of their writing abilities. To improve the caliber of Polish films, it’s essential not just to have top-notch scripts but also for funders to reconsider, prioritize, and allocate resources differently when it comes to script development.
We aim for a future where our tales, grounded in Polish experiences, resonate globally through a shared cinematic vocabulary. Our goal is to expand the business aspect of our festival, providing opportunities for participants to showcase their projects, including pitching them. We want to equip these filmmakers with effective resources and say, ‘Here’s your chance, now apply what you’ve learned in the real world.’ In essence, that’s all there is to it.
The Warsaw Film Festival will wrap on Oct. 20.
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2024-10-11 15:19