Toni Geitani’s debut feature focuses on the evanescence of historical and national memory as experienced by the first generation that did not see corpses lying in the streets but grew up surrounded by their ghosts.
Throughout his career he has chronicled life on the margins to find beauty where others only see barren squalor. Rather than a rhetorical stance, his commitment to lost causes stems from a genuine contempt for conformism, while the anti-naturalism of his dramaturgy abstains from sentimentalism and emotional manipulation.
The Polish director strikes a dramatic balance between subjective introspection and engagement with the outside world, stability and vertigo, the art of getting by and that of getting through. Skolimowski prefers the athletic directness of the physical act to intellectual manipulation.