02/11/2022 - Polish directors Katarzyna Machalek and Lukasz Machowski blur the boundaries between documentary and fiction in their exploration of life from a female perspective

Set amongst the forests of East Poland – places that are idyllic yet harbour a sense of the unknown and a certain mystery – Katarzyna Machalek and Lukasz Machowski’s Day and Night [+see also:
trailer
film profile], a Polish-UK co-production, is a heady brew of ideas and forms as it explores, amongst other themes, folklore, female solidarity and ageing, utilising both fiction and documentary. What transpires in this movie, which had its world premiere in the International Competition at the Riga International Film Festival, is an often chaotic and dreamlike piece of work rich in symbolism and atmosphere.

As the film’s title suggests, it is split into two parts. The first, “Day”, follows the fortunes of young Bielakowa (Aleksandra Galczynska) as she organises a rehearsal by an all-female folk band in her house. But after incurring the wrath of Nawoja (Sandra Korzeniak), the witch who lives next door, Bielakowa must try to avoid the curse that could descend upon her and her friends. This narrative is intercut with footage of the present day (footage which is ostensibly documentary), in which the folk group are elderly women and celebrate their solidarity.

“Night”, the second part, examines an elderly woman as she flashes back to the friendship she had many years previously. As the past and present intertwine, she reminisces on a hard life often filled with emptiness and failure, yet – thanks to the friendship between the two young girls – one that still managed to offer a glimmer of hope.

There’s a consistent sense of duality throughout the film as it continually juxtaposes the past and the present. Indeed, the only duality the feature does not indulge in is that of male and female: this is a story that is resolutely told from a female perspective, with any male characters often taking on little more than a background role. The film invites us to revel in their strength, to celebrate their solidarity. While the movie can sometimes lament the mythical status given to women throughout history – from the Bible onwards, females have been labelled as “witches” – it is also a celebration of togetherness and the ability to thrive even when society prescribes restrictions upon you.

The cinematography – which sees co-director Machowski also serving as DoP – makes much use of the foggy forests and isolated dwellings as both fairy tales and horror stories are invoked. Indeed, there are points when the film seems to be drifting into a genre piece before starker moments pull us back into a more recognisable reality. Yet while it eschews the social realism that might typify a large chunk of modern Polish cinema, this is still a sharply political affair. Amidst its celebration of folklore and tradition, and its willingness to indulge in the surreal and strange, the film is also a vivid reminder of how society – especially Polish society of the past decade – has failed to improve the lot of many women. In a present day in which the rights of many women are being denied on a daily basis, the picture is a paean to their enduring strength but also a lament to the fact that they are still required to find said strength every day.

The hybrid nature of Day and Night, which was produced by Machalek & Machowski’s company Siamese Films, will probably enable it to strike a chord with audiences at arthouse festivals, although anything outside of this is less of a possibility.