At the age of thirty, he (Thomas Vlosok) is the son of a well-known actor, a representative of a very wealthy young Warsaw who is able to cope with his “projects” and is waiting for his musical debut. She (Justyna Święs) – a girl from a small town, a waitress whose ambitions, at least, as stated, does not go beyond financial security. He has a poisonous relationship with his father (Andrzej Grabowski), who wants to prove his independence; afraid to “fly” into deep water. The girl is right, she has a voice, sensitivity and enough talent. The boy is characterized by a will to move, and even a greedy need to push forward. Something unites the destinies of the two, the story begins.
Habowski’s debut was a landmark event at last year’s Gdynia Festival. He participated in the micro-budget film competition and won it. Behind the scenes, it was said that this modest black-and-white painting embarrassed the more luxurious productions than the main part. what is the secret Perhaps most of all, the director was able to gain lightness and maintain a proper weight. The “songs” are visually polished, but not “artistic”, but charming, but on the edge of meaninglessness (although the creators did not reverse the roles; why is the girl always naive and elegant. The boy will be manipulated?).
Anyway, it’s interesting – the film shines in the brightest way, not in the moments when we try to say something about “here and now” (“The best minds of the generation write clickable news”) or show social inequalities. it simply focuses on intimacy and relationships: mainly between a pair of main characters, but also between father and son. It soon becomes clear that they are all dancing – as in Osiecka – “after anger, hatred / anger / sadness and hatred fight / wholesale.”
Habowski knows he has entered a mined area. After all, he builds a love story with background music, and there are many of them, even in recent years, suffice it to recall the latest version of “One Star Rises”. In “Songs” you can see the impact of this film, but also more inspiration – from the early classics of Wajda and Morgenstern to the French New Wave to Baumbach’s “Frances Ha”. If the Polish artist’s debut does not drown in a sea of references, it is only on Habowski’s arm, or even a few.
First, the cast. Andrzej Grabowski has been playing the best for years. In the role of the father, he is almost antipathetic to the cartoon, and in the end shows the human features, the scars of injuries and his own helplessness. Tomasz Wlosok, like his son, has been more magnetic in recent years than the flagship gangster. But the greatest revelation is Justyna Świess. Probably, the singer, who has already settled on the Polish music scene, is amazed by the originality and minimalism in front of the camera – for example, he can convey the loss of his hero at a glance.
Let’s continue, let’s check the deck to the end. Among the director’s several expressions, I found the following words: “I wanted to be like Tuvim’s poems” Songs … “. This is a very interesting presenter. After all, in the works of the most talented Scamandrites you can find subtlety, irony, anger and despair.
And in fact, Habowski’s heroes are more or less the characteristics of Tuvimovsky. They are still missing something. The boy admits that he can receive the award “for outstanding shortcomings”, “consists of clichés” and feels that he is standing still. Is he really “tired of the storms of madness”, as in one of the poems of the author of “Polish Flowers”, or does he want someone who will understand his “nameless pain”? What about the girl? It doesn’t just want to be “an interest to show friends.” In the end, he reads, “Someone got his dream for free.” He is likely to find common ground with the protagonist of Pokoiku na Hożej, “sitting alone and looking at the night.”
These are the protagonists of “Songs” – lost in the trap of life (a little like the protagonist of “The Worst Man in the World” now shown in cinemas), mixed with hasty choices, late, hidden in the “rooms”. their hearts, problems and fears. Only over time will they discover that their destinies – with all their pain and imperfections – are unique and unique, worth living, more important than stereotypical success, not – as in the poet – “these stars, nebulae and the world.”