The Play Poland film festival arrives in Oxford this weekend. In addition to a clutch of screenings at the Grove Auditorium in Madgalen College, there is also a photographic exhibition to enjoy. Unfortunately, only a fraction of the touring programme is on view, with a single feature being supported by a selection of animations and factual and fictional shorts.
These are Izabela Plucinska's Esterhazy, Lukasz Borowski's 3 Days of Freedom, Jan P. Matuszynski's I Know Who Did It, Michal Janów's A Porter from Mewa Hotel, Piotr Bernas's Paparazzi, Leszek Korusiewicz's The Whisper, Agnieszka Smoczynska's Aria Diva, Kamil Polak's The Lost Town, Jakub Janz's The Letter and Tomek Baginski trio of The Cathedral, Fallen Art and The Kinematograph.
Fittingly, the sole feature on offer is by a first-timer who made his reputation with the 2009 Oscar-nominated documentary short Rabbit à la Berlin. Originally conceived as a graduation project, Fear of Falling was inspired by the sudden death of director Bartosz Konopka's father around the time of the birth of his own first child. The resulting sense of striving to express emotions that fate conspired to leave unsaid permeates the drama and, to some extent, enervates it. But, while some may find this a touch too personal for comfort, there is no denying the sincerity of Konopka's intentions.
Since leaving his provincial burg for Warsaw, Marcin Doroncinski has drifted further apart from father Krzysztof Stroinski. However, when he discovers that he has been admitted to a psychiatric hospital, Doroncinski leaves behind pregnant wife Madalena Poplawska and his job as a TV news reporter to head home. His first instinct is to pay his respects and begin sorting out the family affairs. But, having failed in a bid to sell Stroinski's apartment, Doroncinski elects to sit at his bedside in an attempt to build bridges. Eventually, prompted by regret at abandoning the old man and memories of better times, Doroncinski smuggles Stroinski out of his ward and makes for the mountains for what he knows will be their last days together.
Although Konopka has a fine eye for detail and makes telling contrasts between the bustling newsroom and the austere hospital room, his inexperience with actors is evident throughout this first feature. Stroinski does a creditable job of suggesting instability, but his outbursts seem a little too rehearsed, while Doroncinski struggles to make the transition from chilly resentment to redemptive remorse. The flashbacks designed to look as though they have been shot on antiquated film stock are similarly a stylistic misjudgement. But the discussion of overpowering love and the desperation to made amends at any cost is decidedly moving and Konopka deserves considerable approbation for tackling such difficult topics with such honesty.
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