Fotofestiwal 2022 - incoming! :) Fotofestiwal 2022 - incoming! :) Fotofestiwal 2022 - incoming! :) Fotofestiwal 2022 - incoming! :) Fotofestiwal 2022 - incoming! :) Fotofestiwal 2022 - incoming! :) Fotofestiwal 2022 - incoming! :)
films and screenings
Outdoor screening: European Photography Platform – Futures | Galeria Czynna – BY THE WAY | film screenings: Lodz Film School – ANIMATIONS [PL, ENG]

Outdoor screening: European Photography Platform – Futures | Galeria Czynna – BY THE WAY | film screenings: Lodz Film School – ANIMATIONS [PL, ENG]

11.06 22:00
OFF Piotrkowska, Piotrkowska 138/140

// European Photography Platform – Futures //

Karolina Ćwik (Poland)
Yulia Krivich (Poland/Ukraine)
Maxim Sarychau (Belarus)
Bartłomiej Talaga (Poland)
Milena Soporowska (Poland)

// Galeria Czynna: By the way //

Galeria Czynna (Ogórek / Polak / Załuski) is a partisan exercise in self-organization and para-institutional activity. They organize ephemeral artistic and social events in spaces which do not have to be associated with art but they are interesting, available and fit into a given concept.

This year’s 20th edition of Fotofestiwal is dedicated to the city of Łódź. Galeria Czynna invited artists  who have participated in the main program of Fotofestiwal since its beginning. They were interested in how Łódź has been viewed by outsiders, those who perceive the city differently from its inhabitants.

// Lodz Film School: animation / 70’ //

“I’m here”, dir. Julia Orlik, 2020, 15′

An elderly man is looking after his paralyzed wife. Despite his old age and health problems he’s doing his best to relieve her suffering, which is getting worse day by day. His daughter helps him, trying to balance care with her work in the hospital and family life. Everyone has a different view on how to properly care for the sick, which oftens causes arguments.

“Guilt”, dir. Marcjanna Urbańska, 2019, 6′

It is a story about the difficult relationship of a mother and daughter. A childhood full of love is confronted with a parent’s depression. Although on a daily basis she is a loving mother, alcohol turns her into a wolf. During her transformation, she becomes unpredictable, losing her humanity. Full of metaphors and sensitivity, the story leads us through the child’s difficult experiences. Scene by scene it shows how an intimate bond is built only to be shattered, hurting everyone. The titular guilt hovers above: who is responsible, who takes the guilt over, can it help anyone? The film is about the attempt to take on an intolerable burden, and is a sensitive, raw depiction of the fragility of family life. It is a bittersweet story of two lost women who try to win against the demons of everyday existence.

„I See the Abyss”, dir. Karolina Kajetanowicz, 2020, 5′

Inspired by work of a Polish poet Bolesław Leśmian, a “visual poem” about being alive and wanting the opposite. Man walks his dog into the dark forest. Thoughts and sensations are swirling in their heads, but they are unable to communicate them. They walk together yet isolated.

“Portrait of a Woman”, dir. Natalia Durszewicz, 2019, 5′

Story about woman who exists as an incomplete form of herself. She goes unknowingly through various emotional states and stages of life. Suddenly, her real nature wakes up and forces her to fight for liberation. It is not known, however, whether she will win.

“Tunnel”, dir. Julia Benedyktowicz, 2018, 5′

The main character lives in isolation. He seems like an ordinary man, but he has an odd habit before sleep – he gets rid of his thoughts. He starts a journey inside himslef going deeper into the tunnel. Suddenly, he hears a voice – it turns out there has been someone close to him – closer than he’d thought – just behind the wall.

“Such a beautiful town”, dir. Marta Koch, 2019, 8′

In order to confront her unfaithful partner, young woman embarks on a lonely journey throughout the city. Terrified, she watches as the world she knew changes, and more dangers lurk around every other corner.

“Lushfulness”, dir. Weronika Szyma, 2020, 6′

When a girl meets her mirror reflection, unexpectedly her fears and insecurities about her body turn into a passionate and free self exploration. Her fantasies come to life. But there’s also a darker side of this game. Is it possible to become united with your own self?

“My fat arse and I”, dir. Yelyzaveta Pysmak, 2018, 8′

One morning a girl tries on a pair of new pants, yet they don’t quite fit her. More precisely, they are impossible to zip.The girl is bewildered. In the mirror she sees herself like the fattest piglet the world has seen. She decides to go on a strict diet as quickly as possible. No sweets, no sodas, just water with an occasional lemon. The plan goes quite well, draining all of fat away, but with that goes all the joy of life. Even though now extremely thin, the girl doesn’t stop. She is now is more of a zombie, coming blindly to the fridge, that haunts her at night. In the moment of the last seduction by the fridge the Angel of United Bitches of Slimbuttlandia comes to her with a royal invitation to visit the Kingdom and to participate in a royal ceremony. What is this ceremony? Are the Skinny Buttangels that lovely and harmless as they try to appear? Which God do they praise? Is there a way back from The United Bitches of Slimbuttlandia if anything goes slightly off track?