Supernova (Bartosz Kruhlik, 2019): Poland

Review by Jeremy Ellison. Viewed at SBIFF 2020.

Bartosz Kruhlik’s feature length debut is an impressive array of artistic and technical prowess. The film takes place entirely on a rural Polish road, with more characters finding their way into the story as it goes on. The first characters we are introduced to are a daughter and her two parents. The father is clearly drunk, wailing and falling over himself, and the mother can’t get away from him quickly enough. The father drunkenly and annoyingly pleads for forgiveness for whatever wrongs he’s committed, but the mother and daughter storm off regardless, leaving him alone in the middle of nowhere. Moments later, the drunkard is met by a seemingly high profile businessman driving an Audi. The pedestrian leans into the vehicle through the window and begs for a ride, but suddenly becomes sick and hurls all along the German upholstery. What happens next changes the lives of all characters involved thus far. Without spoiling anything, the film evolves into a provocative chain of events in which morals, ethics, and society as a whole are under question. Think 2017’s mother!, but as a sociological satire rather than a psychological horror.

The cast of characters quickly grows, though we scarcely learn about any of them. Their identities matter not. What matters is how they react to the situation they face, and what those reactions say about society in general. The film is clearly meant to be a commentary on the way people, collectively and individually, uphold (or don’t uphold) the meaning of justice, especially when a celebrity or public figure is involved. While I wasn’t necessarily enthralled by the film’s thematic underpinnings, I was thoroughly entertained by its sharp and often amusing developments.

Throughout the brisk 70 minute runtime, the film maintains a comedic yet unsettling tone. It is never too bleak nor too lightweight, finding a delicate mix of the two. What’s most impressive is how director Kruhlik directs the camera during crucial moments. The blocking and movement of the camera elevates the tension of certain moments, and works to execute surprises efficiently. A claustrophobic effect is well maintained throughout the entire film. The mise en scène forms a realistic atmosphere, complimenting the director’s vérité style, as well as serving as a reflection of the real world.

In summary, Supernova is an intriguing artistic work from Polish newcomer Bartosz Kruhlik. His craftsmanship behind the camera shows a strong understanding of cinematic technique, while his writing suggests an exciting new voice in the industry.