Konstanty Lewkowicz

A multi-dimensional portrait of one of the most distinctive artists in the history of Polish cinematography. Wojciech Jerzy Has always hovered over the line where the mainstream met the avant-garde and his biography was marked by moments of artistic triumphs and personal tragedies.

An ambitious, enthusiastic young geologist is entangled in bureaucratic red tape when he tries to drill for oil. Frustrated with the situation, he torches an abandoned mill, ignores his girlfriend, and fights with his friends who do not share his exuberance about the project.

After the war, the community of mountaineers is eager to start their own sawmill. When the communist authorities come to take over the sawmill, a rebellion starts.

Thirty-year-old nurse Teresa spends her days caring for elderly, dying people. Janusz, a young man she met at an amusement park, enters the life of this bitter and disillusioned woman. Teresa doesn't have the courage to tell him how she feels, and he also has trouble expressing his emotions. They are helped by Julka, a girl from the neighborhood who likes Teresa. She finds a pile of love letters from the beginning of the century in the trash. By forging Teresa and Janusz's handwriting, she starts a love correspondence between them, rewriting fragments of other people's confessions.

Using the backdrop of the banality and ordinariness of everyday life in a small provincial town, the film analyses the relationship between two women friends, who struggle to find their way in post-communist Poland. The small events of their lives represent universal feelings of being trapped and lost in a new world, in contrast to the successes of the dark side of democracy - drug dealing, crime and pornography. By its very nature, the film creates a picture of provincial Poland after democracy, but its charm is in the understated relationship between the two friends and the people around them and in the mosaic structure that builds up the film piece by piece.