Polish filmmaker Aga Usziskaska co-authored with Peter Litwin to work on the script for his first feature film, “Silent Land,” in 2016, noting that his film, which focuses on the global response to immigrants, is sadly more timely. Became.
Set in Italy, the slow-burning drama sees a couple whose summer vacation goes terribly wrong when Rahim (Ibrahim Keshak), an illegal immigrant who rents a rented house to fix a pond, dies suddenly. But Woszczyńska sees his film as a humanist rather than a political discourse.
“I want to blame not only Italy, but the whole of Europe. The whole world, which is silent, “he says Diversity.
“When Afghanistan needs our help, we close our eyes and our borders – just like that. [my characters] Adam and Anna. What is happening now, the whole situation on the Polish-Belarusian border, is worse than barbarism, “he said. In September, Poland declared a 0-day state of emergency on the Belarusian border between the two countries. On Sunday, four migrants were found dead, others needed to be hospitalized.
Reflecting on the refugee crisis in his film, Woszczyńska wanted to focus on human indifference, calling it the “plague of the present day”.
“I want ‘Silent Land’ to make people more socially sensitive and not to keep themselves locked in their own homes,” he said.
“My film is about the condition of some Europeans in their thirties, their mental isolation and moral confusion. It’s a story of isolation – not just from each other, but from the world, about consistency and inaction, when the need for protection and convenience turns into a survival strategy. I wanted to show, though not literally, how the whole world is blind to the tragedy of immigrants.
Shown at the Zurich Film Festival’s Feature Film Competition, the film focuses on the same character for the second time – Agnieszka Ż Uleuska and Dobromi’s Dimekie – who also starred in her 2014 short “Fragments” featured in Cannes Directors’ Fornite.
“I needed more screen time so viewers could understand them and forgive them too, especially Adam,” he says. “I wanted to protect this character and be proud of his change. He’s the only one who can understand his mistake and actually take the blame. When they first see Rahim – standing on their porch – it’s a metaphorical scene: we see the white man below “She’s unable to communicate in English, but it’s not her fault. It’s just the reality of this life. But Anna isn’t even trying to understand her. I find this kind of dismissal very cruel.”
Jean-Marc Barr also scored in the participation of French actress Alma Zodorowski, and eclectic actors from Italy, including Elvis Esposito, Claudio Bigagli and Marcelo Romelo, which brought back memories of his 1988 success.
“I was afraid he wouldn’t agree to play diving again, many years after the incredible success of ‘The Big Blue.’ “Getting him in the movie was my dream from the beginning.”
Woszczyńska’s next “Black Water” supported by the Polish Film Institute. Inspired by the Covid-1 lockdown lockdown, it focuses on two women trapped on an island. He’s creating “White Fire,” which centers on men.
She highlights the achievements of other Polish women filmmakers, such as Ola Jankovska, whose “Anatomy” premiered in Venice, and the upcoming drama “Other People” Alexandra Teripiska.
“I can’t really say it’s getting worse. I think it’s getting much better, a lot more women are making very interesting films in Poland.
“Silent Land” was produced by Lava Films, Kino Produzioni and I / O Post, with world sales managed by New Europe Film Sales, as well as on the “Other People” board.