Having found his protagonists, Marczak and his cast spent three months rehearsing together and a year and a half in total shooting. I loved their dynamic together too: Michal is completely free and doesn’t give a damn about what he says, whereas Krzys analyses everything.” They had this energy about them this empathy and determination to figure out the world on their own terms, to find beauty in the banal. “It was love at first sight,” he recalls. Then one night, at a house party, he spotted two art school friends, the handsome and athletic Michal Huszcza and the lithe and chiselled Krzysztof Baginski, engaged in a deep conversation. For All These Sleepless Nights, he spent six months taking in the Warsaw nightlife and the people that punctuate it, casually auditioning potential subjects over coffee or a walk in the park. Marczak’s work blurs the line between fiction and nonfiction: he uses real characters but drafts out rough plotlines with his cast to conjure up a ‘constructed reality’ that is raw and candid yet masterfully cinematic in a manner reminiscent of the French New Wave classics. “I got really curious: what had changed?” Discovering the answer to this question would go on to preoccupy the next few years of his life, the resulting film premiering at last year’s Sundance Film Festival to rave reviews. “I suddenly noticed that I wasn’t the youngest person anymore, that this whole new generation had emerged,” the 32-year-old tells us over the phone from the Polish capital. It was on one such stroll in Warsaw that he landed upon the idea for his new film, All These Sleepless Nights – the first since his 2012 debut Fuck For Forest. Polish director Michal Marczak loves to wander his favourite activity, he explains, is walking “aimlessly” around a city, soaking up its atmosphere.
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