What lies hidden behind the word “love”? In life we often form knotty relationships with our closest relatives that we find it impossible to disentangle. This film tells the dramatic story of two women, a mother and daughter, who are bound together by painful, complicated emotions. Here they have a crucial encounter with a third person whom they have never met before, but who is an experienced therapist. Employing the words and empathy that are his basic tools, he becomes their close advisor.

Paweł Łoziński invites us to take part in their confidential therapy sessions. In an intimate conversation between these three people, some old wounds and deeply hidden emotions gradually come to the surface. Will it be possible for the mother and daughter to find a way out of the cycle of chronic trauma? A way to cut the umbilical cord that binds them with losing their bond of love? In the safe setting of his consulting room, the therapist takes them on a difficult journey inside themselves, and at the same time towards a better mutual relationship. We are given a close-up view of the spiritual process involved in disentangling their emotional knots. Is there a chance for the “scar left by mother” to heal at both ends of the severed umbilical cord?

   
 

Official trailer


     


 

Paweł Łoziński on characters and film


Psychotherapy renders an extraordinary means to talk with other people and, at the same time, with oneself. I have long wanted to put the camera inside a psychotherapist’s office. I managed to do so by way of an experiment. We recorded the therapy process of our heroines, mother and daughter. We watched them change, and observed the master, therapist prof. Bogdan de Barbaro, at work. I think it is a film about each one of us, about our fears, difficulties and the loneliness we experience in relationships with other people. It is a knock at our heart’s door.

Paweł Łoziński





We posted an announcement on Facebook where we said that we were making a film about therapy and stated the privacy terms. I was amazed at the number of volunteers who wanted to take part in the experiment. I heard harrowing stories of human suffering, dysfunctions and solitude. I had a dozen meetings a day, half an hour per story. They sat down and talked about themselves bravely and sincerely. But now, for the first time, I felt that my curiosity was justified: they needed help and I was able to offer it to them. I knew we were serving a higher cause because in the film they would get to sit before a genuine therapist. For many, it was their first contact with a psychologist. People are both curious about and afraid of that. They think that therapists have x-ray eyes, will see right through them and tell them how to live their lives. There are a lot of stereotypes surrounding psychotherapy. I had this crazy idea to shoot all the possible configurations: parents - children, bereavement, drinking problem, betrayal, separation. I wanted to therapy half of the city. There was something narcotic about that. When I finished with the conversations, I had withdrawal symptoms: will no one tell me stories about divorce, loss, abortion or infertility today? But even then I knew that I was no therapist or confessor, just an ordinary listener, director.

I really liked the fact that the therapist would not let the heroines talk to each other. They would turn to him to talk to each other. He was their interpreter and their mirror. The mirror reflected their monologues. And then it turned out that it was only thanks to that reflection that one could talk to the other. It was an interesting workshop. What struck me was the combination of empathy and intellectual insight on his part. There is something about his face that inspires absolute trust. More like a wise monk or a philosopher than a film character of a therapist.

The road to making a film is paved with a few years of hard work. Firstly, you need to understand how to go about making it. Then, what is vital is the right casting. And finding the therapist. Every session was recorded on three cameras. Each sigh, glance and grimace were important to me. Our operator, Kacper Lisowski, set a beautiful, studio/documentary light. Bogdan de Barbaro ran his sessions in a manner so consistent in directing terms that, despite the shortcuts, we did not have to change the dialogue sequence while editing. He led the course of the conversation imperceptibly, as if anticipating the point of arrival. I had to interview about a hundred people to finally reach this pair: Eve and Hanna. We have days of material. But it was only after recording a large number of other very interesting characters that we found this couple, this little lump of gold, which my wonderful editor, Dorota Wardęszkiewicz, and I eagerly used.

Exerpts from conversations with Tadeusz Sobolewski

Paweł Łoziński
director, screenplay, producer


fot. Rafał Masłow


Polish director, cameraman and producer of documentary films. Graduate of the Directing Department at the Film School in Lodz. He lectures in documentary film direction at the National Film School in Lodz and Gdynia Film School. Author of more than 20 award-winning documentary films at international festivals. He makes distinct and emotionally charged documentaries about people of whom he draws intimate portraits. He is also the author of photography to many of his films.

His films such as "Birthplace", "The way it is" and the latest "You Have No Idea How Much I Love You" are considered innovative as they venture into new thematic areas and explore uncharted spaces within the documentary film genre.

In his films, he is interested in the intricacies of relationships, asks difficult questions about human existence, and, without compromising the dignity of his characters, breaks down barriers and taboos to show close-to-the-bone human issues . He pushes the boundaries of the genre by placing the camera where it is seemingly forbidden, in an often unexplored no man's land.

His documentary debut earned him international recognition "Birthplace" (1992) about a Polish Jew Henry Grynberg looking for the murderer of his father. The film has won many prestigious awards including the Golden Gate Award at the SFIFF and the Vue sur les Docs Grand Prix in Marseille and New York Film Festival.

He worked as an assistant to Krzysztof Kieslowski on "Three Colors: White". Based on the latter’s concept, he made "100 Years in The Cinema" (1995) for the renowned BFI series on the centenary of cinema.

His short film "Sisters" (1999), a 10-minute metaphorical black comedy about the lives of two elderly ladies, received awards including the prominent Cinema du Reel Grand Prix in Paris , Visions du reel Grand Prix in Nyon and the Golden Hobby-Horse Grand Prix at the Krakow Film Festival.

The full-length "The way it is" about the director's friendship with his neighbors with whom he shares the same courtyard was a breakthrough in terms of the camera’s proximity to the hero. The film received the Golden Dove at the festival in Leipzig in 1999 and the Golden Hobby-Horse and Silver Dragon at Krakow Film Festival. He received another Golden Dove at the Festival in Leipzig for the film "Between the Doors" made as part of the Across the border series in 2004.

"Chemo" (2008), which is an intimate portrait of people struggling against cancer, was the most acclaimed Polish documentary of 2009. It received more than 15 awards including the Prix Europa for Best European Television Film in Berlin in 2009 and MDR Television Award for Best Eastern European Documentary at DOC Leipzig in 2009.

Personal and courageous film about his difficult relationship with his father, "Father and Son" (2013) was bestowed the St. George Award for Best Film Documentary at the 35th International Film Festival in Moscow in 2013, the Silver Horn for Best Documentary Film at the Krakow Film Festival and the main prizes in Tehran and Minsk.



Selected filmography:


You Have No Idea How Much I Love You (2016)
script, direction, production

Father and Son (2013)
script, direction, phototgraphy, production

Chemo (2008)
script, direction, production

Between the Doors (2004)
script, direction, production

The way it is (1999)
script, direction, phototgraphy, production

Sisters (1999)
script, direction, phototgraphy, production

A 100 years in the Cinema (1996)
script, direction

Birthplace (1992)
script, direction






Dorota Wardęszkiewicz
editing


fot. PWSFTviT


A renowned Polish film editor, co-director, lecturer at the National Film School in Lodz at the Department of Film Editing. She has edited over 150 documentaries, many of which have received awards at leading film festivals. Those included: Wojciech Wiszniewski’s Wanda Gościmińska. A Weaver, The Primer and Foreman on a Farm, Krzysztof Kieslowski's Seven Days a Week, Maria Zmarz-Koczanowicz’s The Office and Maciej Drygas’ Hear My Cry and Michał Marczak’s At The Edge of Russia, Fuck for Forest and All These Sleepless Nights. In the last 20 years, she has been working with Paweł Łoziński, editing all of his films, including 100 Years of Cinema, Sisters, The Way It Is, Father and Son and You Have No Idea How Much I Love You. Documentary is her genre of choice, as she finds it to lend itself to greater expression and creative aspirations of an editor.






Kacper Lisowski
cooperating




Graduate of the Cinematography Department at the Film School in Lodz. He made his debut in 1999 with a feature film "I’m Watching You, Mary" directed by Lukasz Barczyk. He has photographed several documentaries. "Chemo", directed by Pawel Lozinski, tells the story of chemotherapy ward patients in their struggle against cancer. "Every Touch Leaves a Trace" is a portrait of the artist Alina Szapocznikow directed by Anna Zakrzewska. "The Real End of The Cold War", directed by Jerzy Śladkowski, goes behind the scenes of Poland‘s entry into NATO. In 2015, he did photography to Poland in Film for Canal+ and Discovery. He also directs his own films.

In 2012, he made "Whisky and Milk", a documentary about Jerzy Kawalerowicz. He co-directed the feature "Warsaw Station". In 2013, he directed his short feature debut, "Father’s Day" which was awarded Prix de Jeunesse in Clermont-Ferrand and Silver Hobby-Horse at the Krakow Film Festival. Since "Chemo", he has been collaborating regularly with Pawel Lozinski.






Bogdan de Barbaro
therapist


fot. Łoziński Production


Professor Bogdan de Barbaro MD PhD, a clinical psychiatrist, psychotherapist, supervisor of psychotherapy and family therapy. Graduate of the Medical University of Warsaw (1973).

Founder and head of the Department of Family Therapy and, since October 2016, head of the Department of Psychiatry at Medical College of the Jagiellonian University. Chairman of the Scientific Section of Family Therapy of the Polish Psychiatric Association (term 2010/2013), and Scientific Section of Psychotherapy Polish Psychiatric Association (term 2013/2016). Since 1984, Corresponding Member of the American Psychiatric Association.

Member of the Advisory Board of the "Psychiatry. Interpersonal and Biological Processes" journal. Member of the Scientific Council of the "Psychiatria. Medycyna Praktyczna" journal ("Psychiatry. Practical Medicine") as well as of the "Programme Council of the Psychoterapia" magazine ("Psychotherapy"). Permanent collaborator of the "Charaktery" monthly ("Characters").

Author, co-author or editor of such books as "Pacjent w swojej rodzinie" ("Being a Patient in One’s Family"), 1997; "Terapia rodzinna - perspektywa feministyczna" ("Family Therapy. A Feminist Perspective"), co-editor, 2004; "Możesz Pomóc" ("You Can Help"), co-author, 3rd ed., 2005; "Postmodernistyczne inspiracje w psychoterapii" ("Postmodern Inspiration in Psychotherapy"), co-author with Szymon Chrząstowski, 2011. He was awarded the Cross of Freedom and Solidarity.

His research interests include constructionist post-psychiatry in family and couple therapy, and qualitative studies in psychotherapy. In psychotherapy he believes in pluralism of models and schools. He advocates the systemic psychodynamic approach which he relates to social constructionism. He objects to dogmatism and orthodoxy in psychotherapy (and not only in psychotherapy).






Crew:


Director, screenplay, producer
Paweł Łoziński

Cinematography
Kacper Lisowski

Cast
Ewa Szymczyk
Hanna Maciąg
Bogdan de Barbaro

Editing
Dorota Wardęszkiewicz

Sound
Zofia Moruś
Justyna Musialska

Producer
Paweł Łoziński
Agnieszka Mankiewicz

Cooperatingproducer
Anna Stylińska
Aleksandra Grażyńska

Producer


Co-producers

tvpmff

World sales


Distribution in Poland

PRESS RELEASES

 

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A couple of weeks ago I wrote articles for the Krakow Festival newspaper. One of them had the headline “Lozinski” and was about father and son, Marcel and Pawel. I saw that there was a new film by Pawel in the program, I had not seen it when I wrote the enthusiastic words about the two - later I read that he received an award in the National Competition for “You Have No Idea How Much I Love You”, I have watched the film with the beautiful title, it is amazing, let me give you an idea why I love it:

Three faces, talking faces, faces that express emotions, faces to be read, nothing else but these faces in close ups, a mother and her daughter, and a psychotherapist, who is there to make the two reconcile after a long separation. For 75 minutes you are in that room of intimacy and suffering and pain, studying how the intelligent, sometimes tough sometimes soft, therapist makes the two open up for the traumas that come from their childhoods' lack of care and love. Look at the still photo of the daughter, she is full of defiance towards her mother, she gets aggressive and sad when she talks about the divorce of her mother and father, it is embarrassing for the two involved and for the viewer… but liberating when the therapist interrupts, very often by saying “could we use another word” or by interpreting one of the many sentences coming from daughter and/or mother.

As a viewer you know these stories, in a way it is very banal - a child feeling guilt because of the parents divorcing, just one of the themes coming up, the reason it is so good stems from the filmmaking, the three are so good, they are so well directed, the editing goes smooth from one to the other, you listen while you watch either the one talking or the one listening. Like he proved in “Chemo”, Pawel Lozinski has this unique skill of going to the core taking away all the unnecessary and bringing to us a cinematic conversation piece of universal reach.

Tue Steen Muller, Filmkommentaren.dk



"I wanted to make a film about a good conversation, about the conversation which can help"
Interview with Paweł Łoziński, Polish Docs

"Family therapy in five acts"
ModernTimes.online