GLASGOW FILM FESTIVAL 2020 - Supernova

GLASGOW FILM FESTIVAL 2020

In Bartosz Kruhlik’s debut film Supernova, every action has a reaction. There are no coincidences, no accidents, only a chain reaction of events that devolve into madness when the various characters inevitably collide. Despite its faults, it’s a compelling drama that engages the whole way through thanks to a tight narrative and a confidence that is rarely displayed in hyper low-budget films.

Supernova revolves around a horrible accident that intertwines the lives of a group of people in a small Polish village, including a politician, several police officers, and the local townsfolk.

The film doesn’t waste time on an entire act to set up the plot, instead throwing audiences straight down the rabbit hole. This is a good choice, as it makes for a compelling introduction that sets the tone for what’s to come. The narrative is the biggest strength of the film. It’s incredibly precise and focused, never losing sight of the main point. This is in part due to the pacing, which is great. The escalation of events is consistent and logical, scenes never drag on for too long, and everything has a clear reason for why it’s happening. The only problem with the narrative comes with the final few minutes. The ending is too on-the-nose when the rest of the film respects the audience enough to let them dissect the various metaphors for themselves. 

The lead performances are great. Marek Braun’s portrayal of Officer Slawek is strong. He conveys the stress of the situation with purposeful facial acting that always feels genuine. Marcin Zarzeczny delivers similarly strong work as Michal Matys. His desperate aggression feels real and works to bolster the intense emotions of the current circumstances. Rounding out the main cast is Marcin Hycnar as Adam Nowak, who brings a subtle vulnerability to the character that turns him from a one-dimensional sleazy politician to a real person. Unfortunately, some of the minor and supporting performances are rough, which can sometimes take away from the gritty feel. This isn’t to say that all the side performances are bad, but the inconsistency in them is a problem. 

The dialogue is fine, doing what it needs to but not much else. There are corny lines that stick out like a sore thumb, but they’re not too frequent. The script by Kruhlik is better than the sum of its parts. While it sometimes struggles when it comes to smaller character interactions, it excels at bringing the characters and plotlines together in a satisfying way.

Kruhlik’s direction is solid. He includes only what is needed to keep the experience in constant motion. Considering this is a debut feature, he shows a lot of promise for the future. The cinematography by Michal Dymek is uneven but generally well-executed. The number of long takes is ambitious for such a low-budget film, and most of them work well and convey a sense of forward momentum and chaos. However, the overexposure of certain shots, intentional or not, is mostly distracting and unnecessary, and the camera shake is excessive at times.

Supernova may be rough around the edges, but the breakneck pacing keeps the tension high and the momentum consistent, making for a satisfying watch. Those who are fans of minimalist dramas should definitely seek this one out.