Short film about everything.
Two twins, passing themselves off as a lawyer and a prosecutor, start their insurance business.
A manager - an ironic idealist and cynic, a barmaid - felt down daydreamer - are the first who insure themselves’. A kind of theological, surrealistic, symbolic, politic and cabalistic parabolic love story.
#From Director's Statement
1. The Alpha and the Omega – a short film about everything.
The film is of an experimental plot’s character. Autonomized scenes and themes – as self-contained wholes are interlinking through characters and their ideas. There is no classic story, and the narrative is basically of metaphorical and symbolic character.
2. Metaphor and and realism.
Social themes, often current, play a supporting role. They place the events in the certain reality, time – they are the metaphor’s anchor. Basically, it is the film about an inner life.
3. Tempo and rhythm.
Every film has its rhythm that creates its atmosphere. The movie has various tempos since life has its various tempos. Once in a while time flies unrelentingly slow; sometimes it passes before we know. Time flies differently for those in love, differently for a long term-marriage. And, first of all, this is the film about time. About a change. And about lasting, dreaming about curbing this life’s dimension. The construction of the film also assumes the certain celebration, ritual – the same way a mass is said. A ritual, celebration has, as I believe, two functions. Firstly, it enables to displaying in a symbol the certain ideas, which cannot be directly manifested in the imperfect world; therefore, a celebration is a constant relating to eternal love, God, and even to a perfectly efficient activity. Secondly – a ritual should throw us to „fixation”, it should help us to forget about an ego.
4. Constancy and change.
The metaphor concerns, most of all, an issue of lasting and passing, a change. We long for permanence, keeping what is present at the moment (a moment - last forever!); we are afraid of change; simultaneously, we reject standing still in numbness, disappearance of automatisms (passions), repeatability, boredom.
An idea must face a reality; when the real world stops, a dream (illusion) materializes with the power of the dream itself. When time stops, the idea is eternal. Nevertheless, a motion – is a life. Motionlessness – means death. If a dream can have a motive power, there must be a choice accompanying it. A faith that something unknown happen can make us confide in the unknown. Insurance always concerns a future and uncertain event. Hope for eternal love consists in faith and choice.
Creating a world of film can be similar to celebrating a religion without faith. In our life, we do not need faith in doctrines but constant entrusting, in spite of an intellect and experience, in the power of every day’s choices that enables a dream to be reborn. What we need is a confidence in the power of shaping the world and developing a soul, implementing para-religious forms by a down-to-earth mind in a way that we eventually create God – our basic dream of the eternal love.
WINNER: 2007 SPFF SUBMISSION (Seattle Polish Film Festival)
This is no less than a film about everything: from A to Z or from alpha to omega. As the title suggests, the film tackles theological and philosophical questions against a backdrop of a story of two twins, passing themselves off as a lawyer and a prosecutor. They start an insurance business, where a businessman (an ironic idealist) and a barmaid (a romantic daydreamer) are the first to insure themselves. What follows is a surrealistic, symbolic, and political tale that concludes that ‘the unknown is our only hope.’