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He prefers instead to define his own terms, namely “Renaissance Bump,” the definition of which appears on screen at the start of the film: “The tendency for our minds to hold onto a great number of memories from adolescence and early adulthood than any other period of our lives.” Marczak, whose 2012 breakthrough “Fuck for Forest” had a similarly uncertain relationship with reality, has little interest in re-litigating the rules of documentary cinema. READ MORE: The Director Of ‘All These Sleepless Nights’ Doesn’t Care If You Believe His Film is Non-Fiction If you spend 700 days waiting for something to happen, how many days do you spend remembering that something did? More than just a hypnotically hyper-real distillation of what it means to be young, “All These Sleepless Nights” is a haunted vision of what it means to have been young.
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The movie may not have much of a story, but by the time it’s over (some 100 minutes and nearly as many EDM house parties later), enough our hedonistic hero will have wised up just enough to begin questioning his logic.
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Surveying the whole of Warsaw through the floor-to-ceiling windows of a posh high-rise apartment, he concludes that he’ll spend 700 days waiting for something to happen. In a voiceover that feels lifted from an early Wong Kar-Wai film, Krzysztof reduces life to its raw data, theorizing that people spend seven months having sex before they die, 51 days of figuring out what to wear, and so on. They could be mistaken for frat bros, or for the sociopathic killers from “Funny Games” (or both?), but neither of them can shake their sensitivity and the strange grace that comes along with it. They bump around the city like excited molecules, attaching and detaching from each other (and a revolving door of perfectly elusive girls) at random as though guided by a chemistry they can’t understand. READ MORE: ‘All These Sleepless Nights’ Clip: Michal Marczak’s Free-Wheeling Documentary Invites You to a Silent Dance Party - Watchīut freedom, we remember, can be its own ball and chain there’s nothing more constricting than the potential for infinite possibility.įresh off a bad breakup, Krzysztof and his best friend Michal move in together and pledge to live their lives to the limit, but neither one of them has the foggiest idea of where that limit might be, or what it might look like. International Gay Cinema: 33 LGBTQ Movies to See from Around the Worldīest Movies Never Made: 35 Lost Projects from Christopher Nolan, Quentin Tarantino, and More
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New Movies: Release Calendar for August 12, Plus Where to Watch the Latest Films 'Stay on Board' Review: Trans Skateboarder Leo Baker Kickflips History From the opening images of fireworks exploding over downtown Warsaw, to the stunning final glimpse of Marczak’s main subject - Krzysztof Baginski (playing himself, as everyone does), who looks and moves like a young Baryshnikov - twirling between an endless row of stopped cars during the middle of a massive traffic jam, the film is high on the spirit of liberation. Unfolding like a plotless reality show that was shot by Emmanuel Lubezki, this lucid dream of a movie paints an unmoored portrait of a city in the throes of an orgastic reawakening. A mesmeric, free-floating odyssey that wends its way through a hazy year in the molten lives of two Polish twentysomethings, this unclassifiable wonder obscures the divide between fiction and documentary until the distinction is ultimately irrelevant, using the raw material of real life to create a richer story of drift and becoming than “Song to Song” could ever manufacture from oblivious celebrities trying to find their characters between the notes. It would be reductive and unfair to say that Michal Marczak’s “ All These Sleepless Nights” is the film that Terrence Malick has been trying to make for the last 10 years, but it certainly feels that way while you’re watching it.