Poland’s Warsaw Film Festival is celebrating its 40th edition and is betting on up-and-coming, often debuting Polish filmmakers.
“This event often serves as a starting point,” says programming director Gustav Kolanowski. But it’s still difficult to make a feature debut in Poland.
“For me, this path has not been easy. It has been difficult to find producers who believe in quiet, intimate, yet impactful films.” After the death of their father, their three siblings and their mother Monica Majolek, the creator of “Where Do We Begin,” about rebuilding your life, says: .
“I made a certain career choice to tell this story and have been waiting for this opportunity for a long time. I was advised to look for noisy and controversial material, but this film is true. It’s coming from my emotions.Maybe I don’t have a quiet voice. [in Polish cinema]?People who listen instead of speak?
“Crossroads” director Dominika Montean-Pankoff added: “On average, women directors wait five to six years before making their feature debut. I’m primarily interested in metaphysical types of films that deal with the human soul and psyche. However, there are some producers who are just starting out or who are just starting out. The market is extremely competitive as there is an influx of scripts from the greats. ”
“Where do I start?”
Provided by Studio Agathe
Warsaw-born, Germany-based Unspoken helmer Piotr J. Lewandowski argues that with limited funding, international collaborations and co-productions are bound to become even more popular. . But there’s a catch. “They need angelic patience. We’re talking about years of waiting,” he says.
“I’m very happy because a lot of brave films are made in Poland and I hope this situation doesn’t change. My dream is to make a film in Poland. But when I talk to filmmakers… , I hear stories similar to mine. Many people are struggling financially.”
He reveals that Unspoken, which explores themes of sexual abuse and trauma, was “almost entirely” self-funded.
“Crossroad”
Studio work provided
“Despite the struggles that came with it, I don’t regret this decision. It’s a very personal project. I think stories like that need to be told to help people overcome their own experiences. I believe there is.”
Justina Mitnik also deals with trauma and sexual violence in her debut novel, Wet Monday.
“I wanted to show that the shame that sexual assault survivors experience can be instilled by family and friends. It’s not just the ‘bad guys’ that cause the pain. ” The film will be accompanied by an impact campaign hosted by the SEXEDPL Foundation.
“We really want to make a difference,” added Marta Gmosinska, a producer at Lava Films, the company that produced the Cannes premiere of “Girl with a Needle.” “I’m glad that our generation isn’t the only voice speaking out loud about sexual violence and abuse from its own perspective. I’m also calling on other producers and directors to break their silence and shame them. I recommend that you stop doing so.”
Mitnick began writing the film’s script seven years ago, but “it’s been a long journey,” and establishing a co-production even with Lava Films was “difficult.” Still, many hope the situation will improve following Poland’s recent political upheaval and the ouster of the right-wing populist party Law and Justice.
“Our films were funded ‘back in the day’ and I’ve never experienced censorship. Still, it definitely makes it easier to create female-led stories. I have said that Poland needs this film, and I hope that it will reach the hearts of many people,” Mitnik said, echoing Majolek. That project will see the light of day.”
Meanwhile, directors are scrambling to get more diverse casts, often featuring older actors. Director Montane Pankow, who cast the famous theater artist Jan Englert in “Crossroads,” in which an 80-year-old man’s peaceful life is shattered by a car accident, said, “This is not just about filmmaking, but also about life lessons.” M. Kowalski’s horror “Night Silence” is set in a nursing home.
“I was told that this film cannot be made because of the subject matter and the cast is mainly made up of elderly people,” he added. Its leader, Maciej Damiencki, has since died. “I hope and believe he sees us and is proud of this movie.”
“As society ages, that will be reflected in films as well. I am currently working on a project about two sisters, over 65, living their lives and sharing an incredible bond. “I think that’s exactly what we’re missing right now, real connection,” said Aneta, who brought her documentary, The Coal’s Daughter, dedicated to women in the mining industry, to the fest. Novicka says.
“They had been in the shadow of the miners for a long time, so I wanted to give them a voice. It was also a way for me to break out of my family’s tradition and become a director. , I had to face the opinion that as a beginner, I cannot make this film,” she added.
“I think there is a lack of strong female representation in film, not just in Poland but around the world.In the documentary field, the older male generation is still in charge. It’s hard to write and it’s hard to sell, but I feel that audiences are looking for authenticity and true stories, and new artists like us value uniqueness and depth in storytelling. I think we are looking forward to joining this new wave.”
While Polish directors are exploring new stories and genres from horror to magic realism and fantasy with Wet Monday, “Polish industry is making films like Substance.” I want it,” says coach Gmosinska. The Warsaw Film Festival opens with ‘. Credit. All That Glitters Isn’t Gold by Xawery Żuławski is about a legendary 1960s boxer and his wife.
“We wanted to open with a major Polish production. Our festival is an international festival, but firmly rooted in the Polish context. Previous biopics by Watchout Studio [which produced ‘Gods’ and ‘The Art of Loving’] ‘ has been enthusiastically received by viewers and critics, and I am confident that ‘Kulej’ will also reach both of these groups,” said Kolanowski.
The festival is bracing for change following the departure of longtime director Stephane Laudin, who has been in office since 1991. Starting with the two-day KIPA Days and Warsaw Next, the company aims to “expand industry events” and aims to fill that gap. Between film school and the industry.
“The program has pivoted towards intensive screenplay development. We are focused on meeting critical needs. Polish films are designed to allow directors to write their own scripts, regardless of their scriptwriting skills. I continue to struggle with the legacy of being a “writer,” a deeply ingrained belief that I must write. Improving the quality of Polish films requires good scripts, but it also requires fundamental changes in how funders perceive, prioritize and invest resources in script development.” , says Eliza Subtowicz, Director of Warsaw Next.
“We envision a future where stories deeply rooted in Polish reality speak a universal cinematic language. The industry side of the festival will become even bigger, and participants will have the opportunity to shine by promoting their projects. We want to give these filmmakers solid tools and say, “Here’s your shot. So use what you’ve learned in the real world.” It’s very simple. ”
The Warsaw Film Festival ends on October 20th.
