Certainly, the narrative that peeks through its many scenes of people partying, hooking up, drinking and doing drugs, and just generally being hedonistic is remarkably thin.
Then, though, there is the film itself, which is alternately hypnotic and monotonous. The aesthetic and philosophical implications of its making are fascinating to contemplate, to be sure. Perhaps he doesn’t even see a line in the first place. Marczak, it appears, is pushing even further than Werner Herzog or, more recently, Robert Greene (he of Actress and Kate Plays Christine) when it comes to blurring the line between constructed fiction and documentary reality. Instead of capturing directly recorded sound, however, Marczak re-created the film’s soundtrack afterward, having the film’s main subjects re-record their dialogue and even adding bits of ambient sound that weren’t necessarily present in the original shoots.
Taking the hybrid docu-fiction method he explored in his previous features At the Edge of Russia and Fuck for Forest to its limits, Marczak recruited a trio of Polish 20-somethings to act out versions of themselves as they roved their way around the Warsaw party scene, the director’s camera following them in real life. If you’ve heard anything about Michal Marczak’s All These Sleepless Nights as it’s traveled the film-festival circuit in the past year or so, you’ve most likely heard about the nature of its creation.
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