I would say my parents didn’t interfere ;) For a long time, I thought I would study law and defend innocent people in court, so the sudden turn to directing was a surprise to everyone. In my home, high culture was not present, so to this day, every one wonders “where did this come from.” I simply understood that history and dates are not my thing! To be honest, since I was little, I have always been looking for a means of expression for my inner world. I always heard that I should do what brings me joy, and that is probably the best thing parents could say to a lost teenager entering adult life. I went to film school at the age of nineteen, and since then, I’ve been consistently walking my path. 

You have chosen to direct only short films. It has been said by some that the major difference between shorts and features is the plot structure. Would you agree? Take me through your process of determining what stays in the script, and also, the advantages of producing these short segments.  

 While in film school, as part of my coursework, I had to shoot short films every year, and I still considered it an incredibly challenging form. A feature film has the advantage of time: it allows for the development of relationships, a better understanding of the protagonist, whom we then either root for or despise. In short films, everything is condensed. You have to be very precise in choosing scenes and words, as each one can be worth its weight in gold. The difficulty in transitioning from short to feature-length films lies in filling the second act with the circumstances the protagonist must face. The attractiveness of these obstacles and how our protagonist handles them will determine whether we can maintain the viewer’s attention. However, the structure remains the same: we must describe the world in which we will navigate, put the protagonist in a situation that disrupts this world, and allow them to rearrange the puzzle pieces anew. 

As I have never been to Poland before, share a bit about life in this country. Also, I have heard the film industry there attracts audiences in the millions. Can you share your thoughts on why you feel this country is crushing it in theaters? 

Poland is a country of contrasts. On one hand, people seek rapid development and access to all the goods offered by developed western countries. At the same time, they regularly experience the influence of eastern, very conservative thinking. It is hard to escape from this, especially in the current political situation, both on the border with Belarus and in the vicinity of Ukraine, which is struggling with Russia’s aggression. I believe that as Poles, we are constantly seeking our own balance, our autonomy, and from my perspective, this change is in the air. There is strength in the people, and we have shown it in recent years (at least a few times) by taking to the streets in the fight for a better tomorrow. 

This change is also felt in cinema. Filmmakers are making increasingly bold films, and viewers are opening up to them. There is a hunger for something new. After many years dominated in cinemas solely by romantic comedies and martyrdom, a new generation is challenging this: they are addressing current issues, proposing genre cinema that is fresh and contemporary. It’s very heartening – truly a film world that I also want to be a part of co-creating. 

What sort of influence do you hope to have on those who see your movies? 

Above all, I would like the viewer, after seeing my film, to have a chance to pause for a moment. In my work. I always prioritize the individual and their inner life; the world that is incredibly rich and, at the same time, hidden from plain view. Through cinematic tools of expression, I am able to delve into that space, and that is the space that interests me the most. If someone, even for a moment, while looking at another person, stops and imagines that there are just as many things going on in their head, and as a result, becomes more understanding, that will be my greatest success. 

Our discussion of her film, Lili: 

Your film, Lili, was finished with the support of the Polish Film Institute. Explain how you were able to solidify their participation. Further, can you offer to other filmmakers a few ways to secure funding - as this seems to be the #1 struggle for all of you. 

This film premiered at the Santa Barbara Film Festival, which marked both the end and the beginning of a certain journey for me. I worked on this film for six years, and I saw this first screening as a reward for patience. I could not have dreamt of a better reward - it was my first visit to the United States. Yet, it was just the beginning of the film’s life, and now it’s in the audience’s hands. 

The extended production time had several reasons: it is an observational film, and it was difficult to decide at which point to stop following Lili - especially since my protagonist lives in Norway, and I live in Poland. I visited them regularly, but a lot happened between our meetings. Fortunately, without revealing too much, life brought many unexpected changes that we managed to tell in the film, and they allowed me to construct a clear narrative structure. Also, we struggled for a longtime with financing difficulties. Thereafter, the pandemic happened. The Polish Film Institute supported us at the development stage, which was an important step in the film’s production, but it was just the beginning. I think during the entire financing process, you need to have nerves of steel! 

For filmmakers from outside Poland, I would advise that the Polish Film Institute offers a 30% cash rebate scheme. An applicant needs to have a Polish partner or company registered in Poland and pass the cultural qualification test, but it might be a very attractive option for co-production. 

The film itself offers us a look into the life of a small child who is being shared between two parents. She presents herself as sad, frustrated, angry and also - very smart about her surroundings. Can you share with us how being on camera affected this little lady, and moreover, did it seem as if this project helped her little heart to mend? 

Above all, I believe that among all the people in this constellation, Lili is the most mature. She tries very hard to find herself in a changing family situation, which despite her parent’s efforts to maintain a sense of normalcy, must affect her. Like all of us, she experiences various emotions- only she is not afraid to express them.  

It was amazing how quickly Lili adapted to the presence of the camera. In fact, after just a few days, she began to ignore us. This would happen, even though at times we were right by her side. When we finished filming, she told me that maybe she would like to become an actress, and it seems that it is my fault... 

However, to be serious: at this moment, I do not feel like the film has influenced her life. I think this recording, this family chronicle that I managed to capture, will have its time when Lili grows up. Today, it is primarily an adventure that lasted a significant part of her childhood. Although both she and her parents often doubted whether I would be able to finish our film, I consistently pushed forward step by step - and here it is! 

I note that some of the things within the film are a bit unconventional. For instance, family members (and one being a child) typically do not hitchhike together simply because of the dangers involved. For a gal her age, she has great curiosity about adult matters, i.e. her period, what babies in the womb do, relationships, etc. Is this culture specific behavior? Further, her father’s sense of adventure does not always match that of Lili’s - was there much pushing and prodding behind the scenes for her to do these deeds? 

Unconventional for us, completely ordinary for them. I do agree that most people react similarly: Hitchhiking with a little girl?! Madness!”. In one of the Facebook groups, I saw a post about a father hitchhiking from Savanger to Nordkapp with his seven-year-old daughter and looking for accommodations along the way. Out of curiosity, I checked the distance, and it turned out to be 2500km one way. In abstract - I hitchhiked only once, 60km, and I was very proud of myself. I was looking for a topic for a film, so I immediately wrote to him. This is actually how we met. It quickly turned out that for them, it is a normal way to spend their free time: being in nature, climbing, camping, bonfires. Tomek is a globetrotter who has hitchhiked around the world, and he infects people around him with his passion. Norway certainly encourages this lifestyle - the richness of nature and its accessibility motivate for activity. 

Lili absorbs her dad’s hobbies, and although she is not always on board with his proposals, I don’t know another girl who would pitch a tent at such a pace and with such enthusiasm! Nothing was forced in my film - they had a great time, but it was also difficult at times, yet there was never any pressure. For example, in one scene, climbing ends in tears, and although I felt stressed, fifteen minutes later Lili climbed the mountain again - because she wanted to do so. She is an incredibly resolute girl who, despite her apparent fragility, has a lot of courage and curiosity. Her dad helps her realize it, even agreeing to answer a barrage of questions. For Tomek, often despite the discomfort - there are no questions that are too difficult. 

One would assume by the title that the film is about this child’s adaptation to the consequences of divorce. However, is it really not all about the transition being made by all family members?  

This is a film about both an internal and external journey. Each of the characters must embark on their own to continue constructing their lives, regardless of how the constellation of people around them changes. Lili’s perspective is the most attractive for conducting this story. 

I won’t give it away, but the end line of the film is spectacular - as was “the view has a price.” As you are the writer, I have to ask - how much was actually put on paper versus allowing participants to be filmed freely and without guidance?   

 I will reveal a secret to you. This film did not have a script. I mean - I wrote a script for the first version, the one in which I thought I would embark on the journey to Nordkapp with Lili and Tomek. However, that did not happen, and life decided to surprise me time and time again. I had no choice - I had to let it flow. Today, I am very happy about it because I believe that this honesty shines through the screen. 

Beyond that point, Lili was, I would say “un-directable”. She herself provoked conversations and situations. All I could do was to be there and patiently observe. 

Where can folks find this film, and what else are you working on that we can expect to see this year? 

By the end of the year, the film will appear on the platform of our main co-producer, Canal+. Currently, I am working on my feature film debut and have started shooting a mockumentary about Christine Granville - a Polish spy who was the prototype for James Bond’s character. 

Learn more about Sylwia at: hi! - Sylwia Rosak