![]() ![]() Controversies over staging have not deterred Marczak if anything, they have emboldened him. With All These Sleepless Nights, Marczak captures this splintering vision again, netting a Best Director award last year at Sundance. The immersive approach feels particularly suited to the Internet- and media-savvy twentysomethings on screen, yet Marczak simultaneously signals that we aren’t meant to watch uncritically: he catches conflicts between family and friends, and quiet moments of disorientation, and loneliness. ![]() Director-cinematographer Marczak makes his camera an active participant in happenings staged by young radical environmentalists who are determined to save the Amazon rainforest by making and selling pornography. Marczak took another decisive step in what might be called collaborative direction with Fuck for Forest (2012), a hybrid with a strong voyeuristic bend. Shot at a remote northern military post, the film exhibits a winsome blend of poetry and adventure, much like Robert Flaherty’s Nanook of the North-a film that reminds us how staging and extensive collaboration with nonactors are as old as the documentary form itself. Not all critics took kindly to Marczak’s tactic of staging much of the action in that movie, yet At the Edge of Russia won honors at Hot Docs, after playing at CPH:Dox and IDFA, and then had its American premiere at the True/False Film Festival. Since his first feature, At the Edge of Russia (2010), Polish filmmaker Michał Marczak has ventured into ever more ambitious realms of hybrid documentary. ![]()
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