We Haven't Lost Our Way

A love story between a scrapper and a young woman. Seen through the monotony of everyday life the film depicts the hardships of a rural community in present-day Poland. The bucolic landscape becomes the seemingly idyllic backdrop from which a sudden disappearance disrupts their once quiet community.

A film about an ailing old man and a young mother. After retiring from the factory, the man, deprived of his daily routine, loses control over his time. Unable to eat or sleep, he starts drying up. The mother and child are like a single organism. Yet their relationship is, for all its closeness, one of dependence and inequality. The child, whose attachment to life is the strongest, is ravenous and needy; the woman, though enjoying a brief moment of freedom, is doomed to be a victim, while the old man has nothing to keep him going now that he can no longer work at the factory. When the three of them try to have a life together, they are like the Holy Family reversed. Brought together by chance, their lives intertwine in a web of oppression. The film follows their daily existence and slow decline.

Unemployed Joseph Marti is hired as an assistant to Mr. Tobler, an inventor. However, it turns out that the inventions are useless and Marti becomes a Man for everything while he plunges into the everyday routines of Mr. and Mrs. Tobler.

Inspired by Albert Camus’ The Stranger, Rafał Mularz, a stranger in his own society, creates a daily routine and a lifestyle that protects him from the outside world. His method seems to work fine until he is confronted with another stranger. A man thrown out by the sea, an immigrant. Rafał has to make a decision: Will he confront this society unfit for strangers and take responsibility for this man? Or will he choose to continue to protect himself?

A short film by Wilhelm Sasnal

A short film by Wilhelm Sasnal

A short film by Wilhelm Sasnal

The ‘koreks’ of the title refers to a film developing tank. The work depicts an undeveloped roll of film, supposedly found years later in a cellar. Sasnal uses this motif as a starting point for a story about memory and family genealogy. The film features the artist’s father and son, whilst his own presence is replaced by images that interact with people and objects. *Koreks* does not reconstruct a single story, but builds tension between what has been preserved and what has been lost or is merely imagined.

A short film by Wilhelm Sasnal