A Journey of Self-Discovery. Polish Female Voices
I recently had the honor of serving as a jury member for the FIPRESCI (International Federation of Film Critics) at the 40th Warsaw Film Festival. This festival, held annually in the Polish capital, has established itself as a premier showcase for both established auteurs and emerging voices of arthouse worldwide cinema. As part of the FIPRESCI jury, I had the pleasure of viewing debut films made by promising directors from Central and Eastern Europe. Among these were four Polish films, all of them directed by women.
Wet Monday (Lany poniedziałek) directed by Justyna Mytnik, is a thought-provoking film that delves into the surreal and eerie aspects of human tradition and ritual. Set in a small Polish town, the story revolves around Śmigus-Dyngus or Wet Monday, an age-old Easter custom where men drench women with water. The act is traditionally seen as a playful and flirtatious gesture. Mytnik uses this tradition as a lens to explore deeper themes of lack of consent, gender roles, and societal expectations. This is a coming of age story about sexual violence. Myknik direction is subtle yet piercing, guiding the audience through moments that range from unsettling to darkly humorous. Overall, it’s an unique, visually compelling film that prompts reflection on the unspoken violence among young people into traditional rituals.
In Where Do We Begin, director Monika Majorek constructs an introspective, well crafted story that explores the complexities of personal identity and human connection. The story follows a young woman (Maja Pankiewicz is brilliant on the screen) back to her hometown as she is struggling to find her place in the world. There, her two siblings and mother try to rebuild their lives after the unexpected death of their father. By confronting her family, she manages to break the tension that has been lingering in the air. Majorek’s direction is both intimate and poetic, inviting the audience into the protagonist’s inner world with a sensitivity that feels honest.
Clearing (Prześwit) aims to be a meditative journey into the human psyche, but unfortunately falls short in execution. While the film, directed by Ewa Maria Pieta, has an intriguing premise—following a protagonist seeking emotional and psychological “cleansing” in a secluded forest retreat—the narrative is muddled and struggles to gain momentum. The pacing feels unnecessarily slow, stretching the already limited plot thin, and makes it difficult for viewers to stay engaged. The cinematography, though at times visually captivating, doesn’t compensate for the lack of character depth and a cohesive storyline. The performances feel constrained, as if held back by the sparse dialogue and a script that never fully develops its themes.
Set in a big Polish city, The Crossroads (Skrzyzowanie) is directed by Dominika Montean-Pańków and weaves together intimate portrayals of characters at crucial turning points in their lives. It is a powerful exploration of life’s pivotal moments and the complex choices that define us. The idyllic life of 80 year-old Tadeusz is shattered when a tragic car accident casts a dark shadow over his marriage and exposes hidden tensions with his son and the whole family. The film marks the powerful return of Jan Englert, a legendary figure in Polish cinema. Montean-Pańków has crafted a sensitive, beautifully shot film, reminiscent of the choices made by the protagonists of the cinema of moral anxiety. The Crossroads linger in the mind long after the credits roll.
Marcin Radomski
Edited by Savina Petkova
© FIPRESCI 2024