main cast technical details Alec Utgoff: Zenia Original title: Śniegu Już Nigdy Nie Będzie Maja Ostaszewska: Maria International title: Never Gonna Snow Again Duration: 113 min Agata Kulesza: Ewa Aspect Ratio: 2.39:1 Weronika Rosati: Wika Format: 4K Katarzyna Figura: Bulldog’s owner Sound: 5.1 Andrzej Chyra: Captain Year: 2020 Łukasz Simlat: Wika’s Husband Original Language: Polish, Russian, French, Vietnamese Countries of Production: Poland & Germany main crew Production Companies: Lava Films, Director: Małgorzata Szumowska Match Factory Productions Co-director: Michał Englert Co-production companies: Mazovia Film Fund, Kino Świat, DI-Factory Scriptwriters: Michał Englert & Małgorzata Szumowska In Coproduction With: Bayerischer Rundfunk Cinematography: Michał Englert P.S.C. in cooperation with arte Production Design: Jagna Janicka With support of: Polish Film Institute, Film- und Editing: Jaroslaw Kaminski, Agata Cierniak Medienstiftung NRW, Deutscher Filmförderfonds, Sound: Marcin Kasinski MPSE, Medienboard Berlin Brandenburg, German-Polish Kacper Habisiak MPSE, Marcin Jachyra Film Fund, Cinecopro Award, Amsterdam Post Lab Costume Design: Katarzyna Lewińska Make up Design: Waldemar Pokromski logline A masseur from the East enters the lives of the rich residents of a bland, walled off community. Despite their wealth, the residents emit an inner sadness, a longing. The mysterious newcomer’s hands heal, his eyes seem to penetrate their souls. To them, his Russian accent sounds like a song from the past, a memory of their seemingly safer childhood. Zhenia, for this is his name, changes their lives. ne grey, foggy morning in a large, O Eastern European city, a mysterious person anymore. But maybe their appears – a man carrying a emptiness runs deeper? The bed. The visitor uses magical, loom the skyscrapers and masseur, an attractive man cranes of a city aspiring to from the authentic, exotic synopsis hypnotic techniques to get a residence permit and starts become an international hub, East enters their lives. He has working as a masseur in a the East constantly in pursuit a gift. His hands heal, his eyes suburban housing estate. The of the West. The identical penetrate the souls of the bland, gated community, built houses are inhabited by an lonely women. To them, his for the rich in the middle of array of well-to-do Russian accent sounds like what used to be a cabbage representatives of the upper the song of the past, a field, is walled off from the class to which we all peaceful melody of their 'worse' world around it. constantly aspire. They seem childhood, when the world Somewhere in the distance to feel an inner sadness, a was a safer place. Zhenia, for longing. Perhaps it is for the this is his name, changes their winter, which is no longer lives. present in this eastern country. Unlike them, their children don't build snowmen director’s Of', which won the Teddy Award at biography & f ilmography Berlinale. She returned to the Berlin festival with 'Body' in 2015 and 'Mug' in Małgorzata Szumowska 2018, which won her the Silver Bear for One of the most prominent Polish Best Director and Grand Jury Prize directors of today, Malgorzata respectively. Her first English language Szumowska was born in Kraków in 1973. feature, 'The Other Lamb' (2019) was She has directed, written and produced screened in Toronto, San Sebastian and feature and documentary films and has London. She recently completed a received numerous awards at short film for Miu Miu and has just international and Polish film festivals. finished her new feature 'Never Gonna After two well-received shorts, her first Snow Again‘. feature, 'Happy Man' (2000) was nominated 'Discovery of the Year' at the Selected Filmography European Film Awards and won the Małgorzata Szumowska Special Prize in Thessaloniki. Her 2020: Never Gonna Snow Again (Śniegu Już Nigdy second feature, 'Strangers' (2004) was Nie Będzie) presented at Sundance and Berlinale; 2019: The Other Lamb 2017: Face (Twarz) '33 Scenes From Life' (2008), won her 2015: Body(Ciał o) the Special Jury Prize at the Locarno 2013: In the Name of (W imię …) Festival. She later directed 'Elles' (2011) 2011: Sponsoring (Elles) with Juliette Binoche, and 'In The Name 2008: 33 scenes from life (33 sceny z ż ycia) 2004: Stranger (Ono) 2000: Happy Man (Szczęś liwy czł owiek) director’s which also won Englert the award for biography & f ilmography best cinematography at the Polish Film Festival in Gdynia, as well as 'In the Michał Englert Name Of...' (2013), 'Body' (2015) and Warsaw-born cinematographer, 'Mug' (2018), which all won awards at screenwriter and producer Michał the Berlinale festival. In 2013, Englert Englert is a graduate of the won the award for Best Cinematogra- Cinematography Department at the phy at the Sundance Film Festival for National Film and Theatre School in his work on Jacek Borcuch's 'Lasting'. Łódź, which is where he met He is keen to take part in international Małgorzata Szumowska. Their projects, such as Ari Folman's 'The documentary short 'Silence' (1997) won Congress' (2013) and Etienne Kallos' him an award for best cinematography 'The Harvesters' (2018), both shown in at a film festival in Mexico. Since then, Cannes. He was also responsible for the Selected Filmography Szumowska and Englert have made cinematography on Krzysztof Michał Englert over a dozen documentary and feature Skonieczny's loud, HBO-produced 2020: Never Gonna Snow Again (Śniegu films together, becoming a renowned series 'Blinded by the Lights' (2018), Już Nigdy Nie Będzie) artistic duo whose cooperation runs far based on Jakub Żulczyk's bestselling deeper than that of most directors and novel. cinematographers. Their filmography includes '33 Scenes from Life' (2009), awarded at the Locarno Film Festival, alec utgoff Born in Kiev, Ukraine, Utgoff moved to Great Britain at a young age. He graduated from Drama Centre London in 2010. Later that year, he appeared alongside Johnny Depp and Angelina Jolie in German director Florian Henckel von Donnersmarck's 'The Tourist'. He has also appeared in several notable big-budget productions, including Kenneth Branagh's 'Jack Ryan: Shadow Recruit' (2014), Brad Peyton's 'San Andreas' (2015), David Koepp's 'Mortdecai' (2015) and Christopher McQuarrie's 'Mission Impossible – Rogue Nation' (2015). He has worked with such prominent actors as Kevin Costner, Tom Cruise, Jeremy Renner, Gwyneth Paltrow and Ewan McGregor. Utgoff is also known for his roles in TV series, most notably in Season 3 of the Netflix hit, 'Stranger Things'.

You shot ›Never Gonna Snow Again‹ soon Michał Englert: The script was originally deconstruct the metaphysical layer, interview after your English-language debut, the set in Australia, which we ended up taking it seriously nevertheless. We Małgorzata Szumowska & with well-received ›The Other Lamb‹. Was it changing to Ireland, where we shot the wanted to give the film a certain lightness, Michał Englert good to take a break from the film. Catherine S. McMullen, the writer, although It seems that during this peculiar ›Polishness‹ you usually portray in your was open to making changes, but they time, marked by the pandemic, people are films? were also influenced by our American looking for serious messages. producer, who had certain expectations Małgorzata Szumowska: It was so good about the film. With 'Never Gonna Snow M.E: You can see a certain continuity and that we're planning another break quite Again', we were able to enjoy full artistic consistency in the film, an attempt to hand, are trying to be free, to approach soon (laughter). It was an interesting freedom once again. develop the cinematic language that our work intuitively, which means we are experience, for various reasons. It's no interests us most, which is quite contrary. less calculating. Our artistic awareness secret that an English-language debut Is 'Never Gonna Snow Again' going to be It reflects our way of looking at life, which grows constantly with each film we make. opens a lot of doors. Many directors wait another film like 'Body' (2015) and 'Mug' is full of paradoxes and tragicomic We hope we are still able to be genuine; years for it to happen, so we were lucky to (2017), which take a look at Poles as a situations. To some, this type of narrative the films we make together are certainly have made it. Unlike Michał, I had never nation to see whether we are able to treat may diverge from the accepted canon, very honest on our part. worked on someone else's script before. ourselves a bit less seriously or even but we wanted the emotional amplitude We had a lot of fun looking for the right laugh at ourselves? of the film to be quite broad. Today, many form for the story. Also, after making 'The productions, especially mainstream ones, Other Lamb' I felt we both want to make a M.S. I think it's more like 'Body' than 'Mug'. are carefully and superficially balanced. film like 'Never Gonna Snow Again'. By juxtaposing kitschy references to Having a bit of everything is supposed to Kieślowski with bits of irony and make a film sell well. We, on the other tongue-in-cheek, we were able to After the Berlin premiere of 'Body', you prolong one's life in good physical or interview mentioned that your idea was to make a material condition. We live in times when Małgorzata Szumowska & with Michał Englert film about the relationship between a people are constantly trying to measure, person and their body, which turns into label, weigh and plan everything, the relationship with one's soul. I think attempting to create a formula for the this is also a good description of your perfect life. Exclusive gated communities, This reveals a certain spiritual void, which new film. like the one where the film is set, are a is why the place the characters are so further consequence of this type of willingly transported to is just that – an M.S.: I totally agree. Our characters' needs thinking. The protagonist holds secrets empty space. are initially related to their bodies – they inside him; the modern world is want a relaxing massage. These days, consumed by them. Both the coronavirus M.S.: Yes, the film is about a need for people hold a strong belief in various and the consequences of the Chernobyl spirituality. You can feel a new era coming. physical gestures, such as healing, magic catastrophe, which is referenced in the We are transitioning from aggressive tricks and miraculous diets. This is film, are phenomena which, although capitalism and the gradual destruction of probably caused by a fear of the finality of scientifically proven, are not tangible, our planet towards a greater awareness of death. Zhenia, the protagonist, transcends they cannot be touched. They're what it has all led to. We also have an the corporeal and touches something metaphysical, a kind of force majeure. urgent need to go deep inside ourselves. . more, allowing his clients to enter another dimension, outside this reality. M.E: What Małgorzata is talking about may be the common human urge to interview In one of the scenes, the character played M.E.: The whole sphere of interpersonal them best. But certain questions cannot Małgorzata Szumowska & with by Agata Kulesza says that all people care relationships, now largely based on be escaped, they'll catch up with us Michał Englert about nowadays are their looks. We focus social networking platforms, is built on sooner or later. As Eastern philosophy on the physical, sharing the most minute our need to belong to a group, to be teaches: 'Without mud, the lotus cannot details of our lives on social media. accepted in society. As a result, people bloom'... they cannot be touched. They're The characters also seek this approval Where does this need come from? focus only on how they are perceived by metaphysical, a kind of force majeure. from Zhenia. 'Don't think ill of us', says others. This image is often distorted, This reveals a certain spiritual void, which one of them, as he lies on the massage M.S.: I think we've reached a dead end; filtered to fit a particular situation. In our is why the place the characters are so bed. although perhaps I'm naïve and film, we wanted to show people when willingly transported to is just that – an everything will soon go back to what it they are alone. Zhenia's skills, especially empty space. M.S.: They all have a strong need to be was like before. You can see an obsession hypnosis, are important in this context, accepted, and Zhenia seems with the physical, people want to keep as they let him pull the other characters M.S.: Yes, the film is about a need for extraordinary to them, perhaps because their bodies good-looking and fully out of the hustle and bustle of their spirituality. You can feel a new era coming. of his Eastern origins. It's funny, but he functional for as long as possible. This is everyday lives so they can finally get We are transitioning from aggressive seems exotic to them. These people no caused by Instagram and the idealised some rest and take a look at themselves capitalism and the gradual destruction of longer identify with the East, they images posted there. In reality, everything in silence. The seemingly banal ability to our planet towards a greater awareness of consider themselves part of Western looks totally different. It's sick – you meet look inside oneself, to define one's real what it has all led to. We also have an Europe, which is why they ascribe someone for the first time and you're needs and longings, to name one's urgent need to go deep inside ourselves. wondrous characteristics to the exotic, surprised to see what they actually look feelings, is actually a very difficult task for Ukrainian healer. It is very common in like. them. They avoid hard questions, communities like the one in the film to interpreting reality in the way that suits recommend masseurs, osteopaths, interview teachers and therapists to each other, criticise anyone. After all, we are partly Małgorzata Szumowska & with treating them like miniature idols. The describing people we know, including Michał Englert characters find solace in Zhenia. The ourselves. sexual aspect is also important – he has a children total freedom. They speak foreign strong affect on women. He is a man with Is the image of the Polish upper class, languages perfectly, they have no reasons a mystery, but no specific qualities; his which you portrayed through the to feel insecure... Curiously enough, clients can project whatever characteri- inhabitants of the gated community, the Poland is what they like best. What a stics they wish onto him. He may be a result of your observations? paradox. Our upper class has a serious guardian angel to one person and a inferiority complex about its Easternness, Woland character to another. M.S.: Some of it is personal. The they would like to break away from the characters' children go to a French East. This subject has not yet been taken They also patronise him, for example in school, like our own kids. During the year up by Polish cinema. the scene where he has to massage one I spent in Paris, my son, who plays a part of the clients' dogs. in the film, went to kindergarten there, M.E.: We also made fun of ourselves in the so it seemed like a natural continuation. I film. At first glance, the setting seems M.S.: Zhenia is, after all, an employee, a paved the way and now Michał and Maja totally unattractive to a filmmaker – these person of lower status. The picture we Ostaszewska's children also go there. people have everything they need, they painted of the Polish nouveau riche who This gave us a close look at the French have no problems. We don't raise any think they are entitled to more may be a school system. The people whose kids particularly important social issues. We bit mean, but it is definitely true. There is go to private, foreign schools are a very decided to take a contrary approach to a certain amount of warmth in our specific crowd. On the other hand, the the matter – maybe it's worth exploring teasing, because we didn't intend to level of education they receive gives their something that seems safe? Is the film largely based on your own towards them. They hide it very carefully. An important topic, increasingly present interview experiences? I once read a New York Times article in public discourse over the last couple of Małgorzata Szumowska & with Michał Englert about the phenomenon of 'helicopter years, is the issue of migration, including M.S.: A lot is based on me, on Maja parenting' – parents who do too much for economical reasons, and how various Ostaszewska, on the other mothers we for their children, spreading a protective European countries are dealing with it. Is know from the school. The scene about umbrella over them, turning them into this why Zhenia comes from Ukraine? cutting down trees is Michał's story. It's people who are completely unable to always a mix. Besides, we started out as cope with adult life. It's an upper-class M.S.: Good drama requires problems to be may even be a symbol of Europe. After all, documentary filmmakers. We have a sin. Michał and I come from a generation condensed. If the masseur was a Pole, he we are all watching her close her borders knack for observation – it's where our which grew up under communism. When wouldn't be able to say as much about our to refugees. We grew up in a different films come from. It was Michał who I talk to my foreign friends, they simply society. It's always easier to see yourself in system, where materialist, capitalist values came up with the idea of making a film can't imagine that when I was 15, there a stranger, to recognise your own didn't exist. We experienced both realities, about a masseur, a kind of modern-day was nothing in Poland. They think I'm problems in him. Just as Poles are used as which I think makes us tougher. We know a confessor. We do actually know a man joking. We grew up in a different system, cheap labour in the West, so are Ukrainians lot about life. who wanders from house to house with where materialist, capitalist values didn't in Poland. They come here, often working a folding bed. We built the story step by exist. We experienced both realities, illegally. It turns out that getting a step based on our observations of people which I think makes us tougher. We permanent visa isn't that easy, so they are and their relationships. At one point, we know a lot about life. forced to go back home every so often. wanted to make a film about the mothers Zhenia uses his hypnotic abilities to illegally and their relationships with their obtain a permanent residence permit. He children. We used that a lot. Parents did what he had to do – Ukrainians really often refuse to admit that their children don't have it easy here. The gated housing are particularly rude or aggressive estate is a symbol of modern Poland, but it interview Małgorzata Szumowska & with Why does the upper class have such a strong need for isolation? Michał Englert

M.S.: I think it's very Polish. Many parents I know from private schools live in such places. Their explanation is simple – they spent their lives working very hard to achieve the position they currently have. Political scientist Rafał Matyja wrote a very interesting analysis of this M.E.: The semi-peripheral nature of our country is the soil on which phenomenon – he claims the upper class is actually impoverished. the populist seed of radical ideologies can flourish, as we can see at They aspire to gated communities where everyone else is exactly like the moment. It targets our complexes, activating a desire for them. They don't want neighbours who live in council houses. They ennoblement, as well as pride and conceit, creating an aggressive cling on to their own group and isolate themselves from the rest. But understanding of nationality. It also generates a need to feel safe, to they aren't rich enough to buy full freedom. They live in a spiral, which build a wall around ourselves so a stranger can't even sneeze on us. In forces them to constantly make more money to preserve their status, a broader context, this is becoming increasingly dangerous. Life is which makes them terribly neurotic and even less keen to share their about the ability to enter dialogue with people of different origins, space with people who, in their opinion, don't deserve it. Matyja calls views, social classes. The desire to surround oneself with one's own Poland a semi-peripheral country, plagued by an inferiority complex people, which stems from a fear of otherness, reinforces boundaries shaped by its history. We are on the outskirts of the mainstream. which are currently getting stronger and stronger. Like Małgorzata Interestingly enough, the elites of London or New York want to live in said, the estate where our film is set can be associated with many totally different places than their Polish counterparts. The Polish upper things. Even the guard makes fun of his role, knowing that he can let class usually lives outside cities, in estates which are walled off from someone in or send them away, depending on his mood. These are the rest of the world. They don't want to be in bustling city centres. our little codes which we try to present in a funny, inconspicuous way. interview Małgorzata Szumowska & with Michał Englert

These codes seem to be an important, Do you work on the visual aspects as M.S.: It takes a lot of time to make a film characteristic element of your films. you're writing the script? this way, to try each camera position. Suddenly you understand why Alfonso M.S.: Someone counted the films we M.E.: Certainly, to some extent, because Cuarón needed 110 days to shoot 'Roma'. made together – it turns out this was our our scripts are usually shorthand. We We shot 'Never Gonna Snow Again' in 17th. The farther you go, as they say... We write using slogans instead of elaborate less than 40 days, so we had to react have the impression that almost all the sentences. A word, especially when quickly. The crew was sometimes a bit stories that can possibly be told have written, is just a seed. Sometimes, we shaken, because we changed all our already been told. That's why form is key. describe a seemingly simple scene which plans overnight, but they already know These days, when we're drowning in a the production manager plans to shoot us a bit, so they were able to trust us. deluge of audiovisual pulp, form is what in an hour, but turns out we need a There's also the question of the pressure makes a film stand out. To tell a story, whole day. Not everyone is able to we put on ourselves. There's always an you first have to know how to do it. To understand this at first, but it's a matter element of compromise, but we hate me, that's what cinema is about. It's not of emphasis. This is where cinema really giving up at a certain stage. about repeating tropes you've seen begins. Sometimes we don't fully realise thousands of times in other films. I think why something moves us, but when it we've developed our own style over the does, we follow it. Intuition mixes with years. experience and artistic sensibility. It's also a matter of courage, the ability to take risks and make radical decisions. interview Małgorzata Szumowska & with Michał Englert

Did you shoot a lot of spontaneous extra In this context, does it help to work with your scenes, like you did for 'Body'? regular crew, such as costume designer Katarzyna Lewińska, makeup artist Waldemar M.E.: We've had the nickname 'Bonus&Value' Pokromski and actors Maja Ostaszewska, for a few years now. This is how it started: you Andrzej Chyra and Łukasz Simlat? always write the scene number on the clapperboard, and because we kept adding M.S.: It definitely saves a lot of time. I consider things, someone began using those two words. myself skilled at leading actors, although I We didn't add much to 'Never Gonna Snow admit I keep it brief and quick. I find working Again', though. We shot the film in two, actually with experienced actors very easy. Agata three stages. We had the whole concept, but Kulesza is a good example – it was her first role because we were unable to do more rehearsals in one of my films, but there was a mutual trust with the full cast, we had to react on set. There between us. We were both curious about were a few difficult moments when we working together and we both wanted to do it. changed the beginnings of scenes, not to I told her about her character, about the mention the dialogues. But I felt that we had a specific scenes, she didn't ask any unnecessary very clear picture of where we were going the questions. It wasn't hard, as was the case with whole time. Maja Ostaszewska, with whom I'd worked many times before. Alec Utgoff, known from the third extremely difficult. Finally, my American all about. Its aesthetics don't really interview season of the popular series 'Stranger agency got involved. At first, he declined. appeal to us, we found their Małgorzata Szumowska & with Michał Englert Things', as well as the big-budget I immediately wrote to his agent, who surroundings visually unattractive. We production 'Jack Ryan: Shadow Recruit' arranged for us to meet in London. We had to find an approach which would (2014), plays the role of Zhenia. How did had the chance to talk before I left and I allow us to describe something we find he end up on set? quickly managed to convince him. Our unappealing – such as the exclusive, cooperation turned out to be fruitful, gated estate – in an interesting way. Set M.S.: My son, who watched the third albeit exceptional. Alec is very designer Jagna Janicka found a way to season of 'Stranger Things', pointed technically skilled, but being used to do this. We first visited the estate with Alec's character Alexei, out to me. At the large, studio productions, he was our German producer, pretending to be narrative becomes more personal, more time, Michał and I were looking hard for expecting totally different messages potential buyers. We slowly melted the mysterious. With us, however, simplicity in a lead actors. We had several ideas, but from me – very specific information hearts of the housing association in order thinking and storytelling, combined with a we finally decided we had to have a regarding the character's behaviour and to convince them to let us in for a longer certain intensity, always wins. Having said Ukrainian or Russian actor. We hired a motivations. Which wasn't easy, because period of time. In our films, we often that, simple doesn't have to mean obvious. casting agency, which sent us several Zhenia's character is ambiguous. adopt the narrator's point of view. Parts of the film strongly influence the propositions, but we didn't find anyone Despite the fact that we have a strong viewer's perception. During Zhenia's first interesting. I sat down to watch season Visually, the story is told in a fairly protagonist, the story isn't really told visit at Maria's, there is a lot of noise until three of the series, which I am personally simple way, which contrasts with the from his perspective. In order to describe the moment she falls asleep. There is a a fan of, and I texted Michał: I think I've stylised parts set in the reality into which a certain social situation, we had to take long silence. She is woken by Zhenia found our masseur. Alec has a very the characters are transported. a step back from it and watch it from a snapping his fingers, which we also interesting face. He looked exactly like distance. This point of view is interwoven intended to bring viewers out of a certain the character we had been imagining. M.E.: The starting point was important, with Zhenia's inner world and the reality trance. Rhythm and contrasts were very Reaching him, however, turned out to be that is the social class which the film was of the intimate side of hypnosis. The important to me. In 2000, you made the short film why we often useprops as storytelling reinvent ourselves, plan our future in 'Ascention', inspired by Mikhali devices. This allows us to broaden the cinema. We would like our duo to become interview Małgorzata Szumowska & with Bulgakov's prose. The plot was based on literary scope without adding widely recognizable one day and we are Michał Englert a similar concept – the appearance of a events to the plot. making a conscious effort to make that mysterious stranger in a small happen. Being an artistic duo gives us community changes people and their M.S.: Interestingly enough, 'Ascention' many more opportunities than working relationships. was our ticket abroad. The short was solo. conditions and build their immunity, shown in the Cinéfondation selection at because without it, individuals will be M.E.: We even thought about how Zhenia Cannes. It was an amazing experience for The titular snowfall is a cathartic moment vulnerable to all these bad things. A has something of Woland in him. Both us as young people. for the characters, a hope for something terrible situation is unfolding in front of films are based on layered storytelling. new. At the same time, a title appears our eyes, where only the strong will be The everyday drama contrasts with a 'Never Gonna Snow Again' is also a informing viewers that the last snowfall able to survive. As I watch the world hopefully subtle attempt at touching the continuation of your long-term will occur in 2025 change, I think about my children, and I metaphysical. In the short you cooperation. feel a certain anxiety. They will probably mentioned, we also used a simple event M.S.: I remember looking forward to never see many things I had the chance as a starting point to enter the M.S.: We worked together on all our winter when I was a little girl, when we to witness. Not only snow, but certain characters' stories a bit more intimately. films, although we kept separate credits. used to go sledding and build snowmen... species of animals. Perhaps they will live It's usually harder to tell a story with a We now decided this doesn't make much As a result of climate change, my children in a wonderful world without the collective protagonist. Although Zhenia sense and we want to operate as a duo. no longer know the Poland where it constant pressure, the rat race of is the main character of 'Never Gonna Michał's contribution to the project was always used to snow in the winter. Global capitalism. But I am really worried about Snow Again', there were important even greater than usual, which is why he warming also sparked the pandemic – the how they will function. And though I protagonists in each of is credited as 'cooperating director'. We one we're going through now, as well as believe there is hope in our film, I do the houses. A situation like this calls for are also getting more and more offers the ones we will see in the future. People know for sure that it's never going to compression and shorthand, which is from abroad. We felt that we have to will have to learn to function under new snow again. interview Małgorzata Szumowska & with Michał Englert

The titular snowfall is a cathartic without it, individuals will be vulnerable to moment for the characters, a hope for all these bad things. A terrible situation is something new. At the same time, a title unfolding in front of our eyes, where only appears informing viewers that the last the strong will be able to survive. As I snowfall will occur in 2025 watch the world change, I think about my children, and I feel a certain anxiety. They M.S.: I remember looking forward to will probably never see many things I had winter when I was a little girl, when we the chance to witness. Not only snow, but used to go sledding and build certain species of animals. Perhaps they snowmen... As a result of climate will live in a wonderful world without the change, my children no longer know the constant pressure, the rat race of Poland where it always used to snow in capitalism. But I am really worried about the winter. Global warming also sparked how they will function. And though I the pandemic – the one we're going believe there is hope in our film, I do know through now, as well as the ones we will for sure that it's never going to snow see in the future. People will have to again. learn to function under new conditions and build their immunity, because world sales The Match Factory GmbH Domstrasse 60 50668 Cologne/Germany phone +49 221 539 709-0 [email protected] www.the-match-factory.com

Follow us on @TheMatchFactory international press Charles McDonald [email protected]