director Krzysztof Krauze, Joanna Kos-Krauze
screenplay Krzysztof Krauze, Joanna Kos-Krauze
director of photography Wojciech Staroń
music Paweł Szymański
with Jowita Budnik, Arkadiusz Janiczek, Ewa Wencel, Dawid Gudejko (child), Natan Gudejko (child)
awards
Eagle, Polish Film Award for Best Film, Best Director, Best Actress (Jowita Budnik) and Best Supporting Actress (Ewa Wencel), 2007
Silver Spike for film and for acting (Jowita Budnik) at Valladolid International Film Festival, 2007
Main Prize, Prize Trieste at Trieste Film Festival, 2008
Golden Knight Award for Supporting Actress for Ewa Wencel at International Film Forum in Moscow, 2008
Grand Prix for Joanna Kos-Krauze, Krzysztof Krauze and Wojciech Staron at International Film Festival Or the Art of Cinematography ‘Camerimage’, Polish Films Competition in Łódź, 2006
Grand Prix, Golden Lions, Best Actress (Jowita Budnik), Best Supporting Actress (Ewa Wencel), Best Score, prize awarded by President of Republic of Poland for ‘special social sensitivity’, Journalists Award, award of the President of the Board of Polish Television at the 31st Polish Film Festival in Gdynia, 2006
Main Award, ‘Jańcio Wodnik’ and award for Ewa Wencel at the the National Film Art Festival ‘Provincionality’ in Września, 2007
Tarnowska Film Award – Audience Award (Maszkaron) and Radio Reporters Award, 2007
Golden Film (Złota Taśma), award of the Writers Association SFP, 2007
JOANNA KOS–KRAUZE, KRZYSZTOF KRAUZE, NEITHER GOOD NOR BAD; INTERVIEW BY PIOTR ŚMIAŁKOWSKI [ANI DOBRZY, ANI ŹLI. ROZMOWA Z PIOTREM ŚMIAŁOWSKIM], ‘KINO’, 2006, NO. 10
At the beginning we looked at those people in terms of the victim and the perpetrator, the former being the wife and the latter her environment. (…) When the film finally got orchestrated, then everything got complicated, just like in real life. Life and good films have an inherent aversion to theses a priori.Krzysztof Krauze
We were anxious to find a key to the presentation of the characters which would not impose the division into good and bad, innocent and guilty. The initial scene is the first signal for the audience; it shows how complex the whole dramatic situation is; it shows that each side sees it in a different way and tries to change it in its own way.
Joanna Kos-Krauze
PAWEŁ T. FELIS, SAVIOUR SQUARE [PLAC ZBAWICIELA], ‘GAZETA TELEWIZYJNA’, 2007
You watch this film with growing admiration. This is a story about a life which is extremely authentic and, in a way, our own. There is a bomb ticking in the family from the very start. And it explodes systematically, though imperceptibly, in everyday behaviour, in seemingly insignificant decisions, in aggressive words thrown casually around. (…) The simple plot and almost classical realization hide exceptional sensitivity to psychological nuances but also a metaphor of our private family hells, complexes and silent tragedies. ‘Saviour Square’ is one of those recent Polish films which are bound to stand the test of time.
history periods
