I did not re-watch it before our conversation, but remember being simultaneously entranced by its mise-en-scène and disappointed by some parts of its content (what is new in feeling lost after graduation?). Neither entirely fiction nor nonfiction, the movie is part of a new wave of films that defy genre classification. A beautifully shot, elliptical meditation on post-college malaise, the film uses ostensible non-actors (we learn more about this in the interview, below) playing mostly true versions of themselves. That's what makes this a fantastic, and real, documentary and an all-around superb film.I recently spoke by phone with Polish filmmaker Michal Marczak on the occasion of the recent theatrical release of his 2016 Sundance-winning documentary hybrid feature All These Sleepless Nights ( which I reviewed last year). That sentiment sums up this entire film.ĭespite the camerawork, the color, and the sheer glitz of this body of work, the subjects' feelings always come across as authentic. "I look for what I am missing," she says. One of his female guests stays until the following night. When Krzys moves into his own apartment in the film's third act, he has a party that lasts through the night and into the afternoon the next day. There's an overarching hope in all of it that their experiences, both good and bad, will make sense or at least lead them to something better. It's not so much about these young adults' preoccupation with all-night ragers but about their search for excitement and novelty. What starts as a movie about wild kids evolves into a meditation on male friendship, fleeting romance, a search for purpose, and living in the moment. But the equally abstract approach gives it a poignant touch that may have been lost in a more traditional, cin‚àö¬©ma v‚àö¬©rit‚àö¬© approach. The ultimate mission of this film, to capture this period of early 20s confusion, is a lofty and abstract one. He's essentially listless, often partying through the night until sunrise. At no point do we see him work or learn or ascend. The film follows a loose narrative structure as Krzys searches for happiness. Even when he's with Michal, Eva, or any of his other aimless peers. From the opening sequence and throughout, Krzys can't shake the feeling of being alone. At a party, Krzys' friend tells him that life is about dreams and goals but not people. More specifically, they miss the feeling of a girl's breath on their faces while they sleep. In one scene, the two talk about how they miss sleeping next to someone. There's an underlying theme of loneliness, as Michal and Krzys pontificate about companionship and life's meaning in various states of intoxication. On the surface, this sounds like standard fareÔøΩ the normal stuff that many 20-somethings go through. When Krzys falls for Michal's ex-girlfriend, Eva, their friendship is tested. He moves in with his best friend, Michal, and together, they spend their nights drinking, doing drugs, partying, and meeting girls. He's a Polish 20-something attempting to figure out the next stage of his life. It's immediately clear that this documentary has stylistic flareÔøΩ something the documentary world isn't exactly known for.īut still, it's a documentary through and through. The scene is rich with color, drama, and ambience. In the astonishing opening sequence, lead subject Krzys stands in his apartment watching a dazzling fireworks display. The pulsating beats of house, trap, and synth-driven electro soundtrack the movie. The camera swirls around its subjects as though they're posing or acting. It's a look that feels cinematic like a feature film. The color is drained, creating a crisp yet somber winter backdrop for the story. There's no lower third that states the subjects' names, ages, or locations. All These Sleepless Nights has none of the markers of a typical documentary. To some degree, their confusion is warranted. Some critics questioned the film's authenticity and speculated that its reality wasn't so real at all, in the same vein of popular reality series like The Hills or Made in Chelsea, in which producers drop their subjects into pre-staged parties and events to generate drama. He was also nominated for the Grand Jury Prize. Buzz swirled around the film after Marczak won the World Cinema Documentary Directing Award at the 2016 Sundance Film Festival.
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