2

A Reality doesnt exist anymore or,

BOA maybe, out of an almost officially

T accepted convention it is not anymore

Just One. It is not ubiquitous, nor
Synopsis
perfect, nor logical, nor continuous,
Playful portrait of a group of men
nor finished. We know nothing about
trying to build an impossible object.
reality except, perhaps, that it is
multiple and subjective, but not
About
anymore polarized between observer
1
and observed: they seem, more often
The film comes out as a free-form,
than not, to be smashed in some sort
openly manipulated and misguided
of polymorphic tuxedo that no one is
observation of a polish shipyard,
wearing, dismantling the whole
playing with the opposition between
Western metaphysical project. To this
a group of people and the gigantic,
extent, the classical idea of realism
elusive object they have been
or neorealism in cinema is today
entrusted to build (ungraspable by
unthinkable (films that are primarily
the mere sum of its parts), gliding
concerned with their inherent
between a twilight zone episode and
responsibility of representation of
a tatiesque observational
reality) and the nearest might be in
documentary .
work of the likes of Apichatpong
Weerazeetakul, Carlos Reygadas, or
metafantasies like the Act of Killing, all
of them trying to respond to this
polymorphic reality (self-referential but
free of judgment), making an effort to
link it together through associations,
parallelisms, and by materializing the
subjective into the objective and back.
They often turn, therefore,
mythological in more than one sense.
Mythologies that, though initially might
be rooted in the cultural grounding of
each film, tend to overcome that
relative identity films using similar
devices from radically different cultural
backgrounds, like anthropological
documentaries that come out as
mystical cowboy road-movies or
sensory-horror documentaries on a
fishing boat, for example
(Sweetgrass and Leviathan from
Lucien-Castaing Taylor, US).
All of this slowly builds up into some
kind of dadaist sacrality,
onomatopoeic, that through
something as a subsidiary
consciousness, an informed
naivety, tries to create a
mythological body for perception, to
restore an assembly of imaginary
beings (if it really is that God must
come back, he shall do it in the shape
of a small and colorful plastic toy, a
cheap miniature racing car or a
poorly fabricated plastic velociraptor).
The present project is a lighthearted,
dadaist comment, on this new deities
that artistic practice must build in
order to keep an actual relation with
reality, something to glue it together,
to make it domestic and common-
grounded.
 Cast & Crew

Cast Workers from the

Shipyard of Gdynia.
Script & Directing Gabriel Herrera

Cinematography Michal Dymek

Production Hania Drewek.

Montage Kacper Plawgo

& Gabriel Herrera
Sound design Gabriel Herrera

Produced by PWSFTviT & Black Maria