Here are four films of the Polish Films Competition under patronage of Plus network operator!



Suicide Room

"Suicide Room" turned out to be a landmark for Polish cinema in terms of films discussing joys and sorrows of the modern youth. Not the youth harnessed with the poverty of Silesian housing estates or restrained by the lack of bright future, but the one more or less consciously getting rid of life's limitations by connecting to the abstract virtual reality. In there, nothing is what it seems, nevertheless the illusion is stronger than common sense. Jan Komasa was brave enough to enter the area of Polish cinema rarely explored before. He merged together the classic literature's universal themes of youthful quandaries with the latest computer animation techniques that not only symbolize the technological shift, but also the changing ways of perceiving reality. The film is important, but it is also a real visual treat, and - what is perhaps essential to great cinema - it leaves more questions than answers.

"Suicide Room", courtesy of ITI Cinema
One of the main elements of “Suicide Room" is the adjustment of cinematography to the protagonist's, named Dominik, vision of the world. For the most part of the film we observe reality from his distorted perspective, hence Radosław Ładczuk's strongly stylized visuals fit perfectly the overall picture. The energetic cinematography and the colors used to present Dominik's inner world stem from the character's mental state; slow-motion scenes are part of his separation from reality; and the fragments in virtual Second Life are arising from his still-being shaped view of this brave new world. Together with the fact of Dominik losing himself in the digital illusion, the visual mood of “Suicide Room" also shifts - the fine line between what is real and what can never be real starts to blur.

Polish title: Sala samobójców
Directed by: Jan Komasa
Cinematography: Radosław Ładczuk
Polish distributor: ITI Cinema
Polish premiere: 4th March 2011

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The Mole

There is a father (Marian Dziędziel) and son (Borys Szyc), and the accusation published in the press that the first one, one of the heroes of “Solidarity" movement, was also one of the informers of the communist government. Rafael Lewandowski does not try to make the waves with “The Mole". Quite the opposite, actually, for he uses Polish past as a means of discussing the modern shape of the country in which one cannot tell a truth from a lie and people seem not to be aware of the fact that nothing is black-and-white. In the core of “The Mole"Lewandowski puts family as a social unit subjected to the mood of the public. For his film is more about the present and the people who shape it.

"The Mole", courtesy of Kino Świat
At first sight visuals in “The Mole" are just solid and foolproof, but also not perceptible enough to admire them. However, Piotr Rosłowski's cinematography perfectly mirrors the subsequent parts of Rafael Lewandowski's film, emphasizing the increasing despair of the protagonist who is not able to discover the fleeting truth. What is more, Rosłowski's cinematography accentuates the difference between the film's locations. The scenes in France, happening in the first part of the film, are colorful and full of interactions, but then, after the return to Poland filled with suspicions and distrust, everything goes bleaker, greyer, and the whole reality is not as obvious as it used to be.

Polish title: Kret
Directed by: Rafael Lewandowski
Cinematography: Piotr Rosołowski
Polish distributor: Kino Świat
Polish premiere: 5th August 2011

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Joanna

In "Joanna"Feliks Falk continues his film crusade against the disappearance of moral values and the opportunistic approach that is responsible for the growing decadence of the heart. By setting his story during morally ambivalent times of World War II, the director emphasizes his film's humanistic approach. And by giving the titular Joanna (Urszula Grabowska) a little Jewish girl to take care of, Polish filmmaker tests all the characters: those who are close to the heroine and those accidentally involved in the whole matter; those politically active and those who look for an effortless life, those from the Polish side and those that wear Nazi uniforms. It appears that nobody is who he/she seems to be, lest put in the extreme situation.

"Joanna", courtesy of ITI Cinema
The additional - and essential - hero of “Joanna" is the way it was made by Feliks Falk and his cinematographer, Piotr Śliskowski. Carefully stylized reality of the war-torn Warsaw makes for an incredible experience through the use of toned-down colors, many close-ups and accentuating the differences in lifestyle of many social groups. Albeit the greatest cinematography goes on in the scenes shot in confined spaces, like Joanna's apartment - they serve Śliskowski to intensify the meaning of all the actions, gestures and words, revealing the true personalities of characters before the viewer's eyes.

Polish title: Joanna
Directed by: Feliks Falk
Cinematography: Piotr Śliskowski
Polish distributor: ITI Cinema
Polish premiere: 26th November 2010

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Courage

Greg Zglinski does not create drama through his heroes' actions, which, by definition, always result in some sort of reaction, thus one can judge it more or less fairly. No, the director uses inaction; the inability of doing something, the impotence of not being able to do what one wants to do. “Courage" is flawless in making the viewers aware of the sad truth that one random incident - brotherly quarrel, too impulsive reaction or even fighting for one's convictions - can change life for ever, making others suffer, too. At the same time Zglinski's film is a moral treatise about different kinds of courage: social, human, business, arrogant, civic etc.

"Courage", courtesy of Best Film
The first thing that comes to mind while watching “Courage" is the psychological depth given to all of the main characters, especially two quarreled brothers. This “quality" was achieved through both brilliant acting and the carefully planned visuals. Witold Płóciennik's cinematography quite often focuses on the characters staying in the frame, even if something more interesting happens in the vicinity. This way it enables the viewer to understand all the emotions that tear their hearts and souls apart. Płóciennik also uses many close-ups that catch on the camera the significant details like facial tics or emotions expressed by eyes, more important than hundreds of meaningless words.

Polish title: Wymyk
Directed by: Greg Zglinski
Cinematography: Witold Płóciennik
Polish distributor: Best Film
Polish premiere: 18th November 2011



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Polish Films Competition under the patronage of Plus network operator is the most interesting presentation of contemporary Polish cinema, evaluated by a jury comprising exclusively of foreign filmmakers, artists and film critics. We have adopted this principle as the first Polish festival, and it allows universal evaluation criteria, free of local contexts and audience preferences. The films awarded annually within our competition are examples of original cinema and interesting creative strategies. These films are set in Polish culture and at the same time can appeal to an international audience in an universal way.

Polish Films Competition under the patronage of Plus network operator is an excellent opportunity to promote the most interesting, local Polish artists who can show their achievements to the international audience consisting of active filmmakers, well-known producers, respected critics. Our prestigious competition is a great opportunity for Polish directors and cinematographers to become known among the foreign audience, and to become a part of the international film production and distribution.