The Young Lions
A month ago, the Film magazine columnist Krzysztof Demidowicz predicted that the young filmmakers would conquer the film festival in Gdynia and he was right. The Golden Lions have finally awoken: the award was given to Magdalena Piekorz for her feature debut – Pręgi. A debut fourfold: for Piekorz - director, Marcin Koszałka - director of photography, Adrian Konarski - score composer and Wojciech Kuczok – screenwriter. Plus a round of applause for Wacek Adamczyk.
Last year's winner had also been directed by a beginner. The verdict, however, brought a lot of controversy and divided the film world. This year the situation is bound to be different - Pręgi has been the favourite long before the festival’s opening. The jury’s unanimous verdict, the standing ovation and the Golden Claqueur award confirmed the value of Piekorz’s work. Other young practitioners whose work has been applauded are Przemysław Wojcieszek (although I cannot help thinking that the award was given for Wojcieszek’s determination and energy in his artistic work rather than for W dół kolorowym wzgórzem) and Wojtek Smarzowski, who took the Special Award of the Jury for Wesele.
Speaking of youth, among the awarded artists were some young at heart – just look at Krystyna Feldman, who received the leading actress award. One might wonder why Feldman hasn’t come across a director willing to explore her talent before, someone who'd allow her to create more than a picturesque cameo role. Mój Nikifor may be called Feldman’s lifetime role, but the actress - in spite of being 84 - does not think of retirement. Her energy is remarkable and allows to look forward to more outstanding performances.
Just like most of us, I watched the Festival of Polish Feature Films on TV. According to a friend’s report, this year’s event has been very enjoyable as far as social life went; artistically, a sense of fulfillment arose from the general impression that the awarded films have been wisely chosen. This is a month of new Polish film - many of the new films will be shown; some – Mój Nikifor or Vinci – are already in cinemas. It is interesting to trace how the new productions are perceived by critics.
Zdzisław Pietrasik (“Polityka” no. 39) ventured to prepare a ranking of the upcoming films. Only three of these: Pręgi, Wesele and Mój Nikifor found their place in the “films of the year” category. A few good movies is not enough to be euphoric – says Pietrasik. The critic concentrates on the areas neglected by Polish cinematography. I don’t know if I can fully agree that we need (more) films concerning the Warsaw Uprising, August ’80 or the Polish Round Table Agreement, but probably Pietrasik is right in assuming that if anyone would want to show these events, it will be someone young. But, perhaps, it would be reasonable to stop expecting a fulfillment of the patriotic mission from the young directors. There seems to be quite a lot of works showing how Poles suffer.
Tadeusz Sobolewski (“Gazeta Wyborcza” no. 226: The Morning after the Wedding) underlines that complaints on our history and the political system have outdated. The critic notices a strong need for cinema showing change, propagating goodness and reason, cinema one would want to believe in. Sobolewski mentions two films which, in his opinion, are made for this purpose: Pręgi and Mój Nikifor. It is symptomatic, he says, that Piekorz’s film ends with a declaration of love. The scene has been a major challenge for actors, one greater than any erotic scene. Maybe this is a sign of the times – shooting a scene that involves eroticism is easier than to making the viewers believe in the enduring power of love.
Still, it seems that the jury has underestimated Mój Nikifor which, according to Bartosz Żurawiecki, was the most mature production of the festival and one of only four films which the author of Moja Gdynia czyli 4 x tak („Film”, 2004, no. 10) appreciates. As regards what the critic openly criticises, refer to the article. It is worth to consider Żurawiecki’s postulate of strict film selection and quietening down the atmosphere surrounding the festival.
Żurawiecki criticises the romantic aspect of Pręgi, but Piekorz believes in the healing power of love; the interview published in the same issue of “Film” (Wierzę w szczęśliwe zakończenia – I Believe in Happy Endings) makes us think we are not dealing with a naive young girl, but a mature artist who strives to achieve a specific effect. Let’s hope Magda Piekorz and her colleagues achieve their goal of enriching Polish cinematography and satisfying the viewers. If not the lions, then who?
Katarzyna Wajda
Translated by Marta Malina Moraczewska
Discussed journals: Film