I realized that I wasn’t the youngest anymore and my generation is kind of on the way out. That’s actually important: You set out to capture the youth culture of their generation. I was born in ’82 and they’re of the first generation born in ’89 and ’90. I would say they’re the younger generation. There’s actually a 8 to 9-year difference. How old were you guys when you shot this? Aren’t you all around the same age? But since I had a four-month prepping period, when we did show up with a larger crew to actually shoot, people were natural around us and not looking into the camera. Nobody really knew what this was going to be. Sometimes I was coming around with a camera, so a lot of these clubs and bars kind of knew who I was and what I was doing, more or less. That actually paid off because that’s how we got everyone else in the film and how all the places got to know what I was setting out to do. I was just going for coffee, going for walks, and hanging out and talking with a lot of people. ![]() I was looking for people for around four months. It really was one of those things where it just felt right. I think that’s what really set up the connection. That was the conversation we had at the beginning. That was the very first conversation you guys had? They understood that’s the only way to get an emotional connection: if you’re just really frank about who you are and where you are. There are definitely going to be hard and sad times, and maybe lonely times.” They totally believed in it. When I told them about the film, I flat out said, “Listen-if we’re to go on this journey together, we have to become very vulnerable and open up. So they already had a little bit of that in them. They’re performance art students, which is based around being in the moment, running on emotions and talking about their experiences. He was aspiring for something and it was going to be a bumpy road ahead. Krzyś was at a time in his life where he didn’t want to be in the shadow of another person anymore in that sort of friendship. We definitely thought that, if we played off of that, the good things would come. The difference between them was really strong. Krzyś was super analytical of everything. Michal was the Marlon Brando and James Dean type of guy who was very loose and not self-conscious. They just seemed very special in the sense that they had a weird dynamic. When you first met Krzyś and Michal at a party, what was it about them that caught your eye? And at what point were you convinced that they could do this? and SF on April 7th, and in NYC on April 14th. Marczak’s latest stakes out its own cinematic terrain.Īll These Sleepless Nights is one of the best films to hit theaters so far this year.Īll These Sleepless Nights opens in L.A. Then it’s too spontaneous, in-the-moment reactive, and variously naked to be a work of fiction. ![]() It’s too engaged, interactive, and borderline invasive to be an observational film. The 2016 Sundance Film Festival presented All These Sleepless Nights in its World Cinema Documentary competition, with Marczak taking home the directing prize-a coup considering how little the film tries to convince the viewer of its factuality. A beach is host to a most dazzling segment: blissed-out revelers swaying to Caribou’s “Can’t Do Without You.” The action unfolds in underground tunnels, on strobe-lit dance floors, and against picturesque cityscapes. They share theories, girlfriends, and narcotics in a self-indulgent yearlong journey of endless partying through Warsaw. They resolve to live life to the fullest and push the boundaries of their freedom. Twentysomething buddies Krzysztof Baginski and Michal Huszcza-neophyte actors “portraying” themselves-are Olympic-level hedonists. The film is essentially about the ephemeral nature of the excesses of youth: what it is to be young, totally carefree, and absolutely committed to having a good time all the time. ![]() All These Sleepless Nights is bound to elicit the same kind of reaction as Fuck for Forest (2012): Is this the work of a genius or some sort of charlatan? Since his first feature, At the Edge of Russia (2010), the Polish filmmaker has ventured into ever more ambitious realms of hybrid documentary. The degree to which any of it is scripted seems continually up for grabs. Michał Marczak’s All These Sleepless Nights blows the line between narrative and nonfiction into a cloud of coke.
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