DIRECTOR'S VISION
This story is especially important and personal to me. After graduating from the Academy of Fine Arts, like our main character, I worked commercially and, like her, I want to return to authorial projects. A few years ago I began photographing invented crime scenes. Everything was fictional, yet each time I felt something disturbingly real. I wrote an idea for a short film based on that series, then another about a young Ukrainian woman in Warsaw who plans revenge on her family's murderer with the help of a photographer. Suddenly these two stories, one about aestheticising violence and one about real violence, began to speak to each other. Since then I have asked myself why this beautiful image of human suffering fascinates us so much. That was the beginning of All Our Ghosts.
This film does not exist without context. The war in Ukraine is not merely a backdrop, it truly shapes the scenes and relationships. Saboteurs operate in the Poland through which the women travel, and one becomes a catalyst for the violence they tried to avoid. At the end of the film, Putin is poisoned. Through this political fiction, I want to show that we can live in a different, safer world. Just as Garcia Marquez allowed his characters to float through the air to tell the truth about Colombia, I want viewers to dream of life without the oppression of war.
