Edyta, a forty-year-old woman (Katarzyna Herman) arrives to Warsaw broke to the wide. The car, which is used as her home and a couple of dresses are the only things that she owns. Forced by the lack of money she is dating online with random men. During these meetings, she makes them asleep by the use of sleeping pills, so she can spend time in their flats, use the bathroom, kitchen and sleep peacefully the night. That is how she meets Patryk, a thirty five-year-old man (Tomasz Tyndyk). However, the meeting gets out of control.
The most important aspect for me is the human being and all that surrounds it. The smallest, even the most mundane and insignificant details. I enjoy travelling by tube. I do it for hours on end, in every city I visit. It doesn’t matter for me whether it is Warsaw, New York or Barcelona. This gives me a chance to observe the people. There’s some strange closeness to it. In the rush hours people are forced to come physically closer to one another. This breaks down embarrassment or makes it ever stronger. My impression is that the people are without masks, in white - one to one. Border with their journey, they do not control or forget to control their behaviour. They are pure and the most important for me.
A film is slightly like the tube. Being a viewer, and watching the film only as a viewer, I search for intimacy, closeness, the truth. While writing and directing “W sypialni (In The Bedroom)” I thought about how this film would be seen by me as a viewer. I tried to direct my attention not to the action or the sophisticated plot, but to the human being, the rustle of human hands, breath, embarrassment and the look. What was important was the moment, the emotional state, even it there was no dynamics in the body. It was necessary to observe the moment. Not just the course of a character’s life, but all that happens with the character when it comes to a decision-making moment. Because the film should imitate the life - it is not the effect, but the process, that enriches us. It makes our knowledge broader, within the process we break down and stand up again. At least so it seems to me.
I was lucky to be able to co-produce the film with wonderful people, starting with the crew and finishing on the actors and actresses. Kasia, Tomek, Agata, Mirek, Janusz. They trusted me, gave me part of themselves, not so much as actors but just as people. Does this make “W sypialni (In The Bedroom)” more authentic? Perhaps so. I don’t know. It can only be evaluated by the viewer. Directors should not analyse, defend, interpret or explain their films - that is what I think. The film is already made and belongs to the viewer. It can, at the outmost, be discussed among nice people, with a bottle of good wine.
Tomasz Wasilewski - director, screen-writer. Graduated from the Leon Schiller National Higher School of Film, Television and Theatre in Łódź (Państwowa Wyższa Szkoła Filmowa, Telewizyjna i Teatralna im. Leona Schillera w Łodzi) and the Film & Television Academy in Warsaw (Akademia Filmu i Telewizji w Warszawie).
He co-operated with the production company, ZENTROPA INTERNATIONAL POLSKA, in the making of the following films: “Antichrist” directed by Lars von Trier and “Kvinden der dromte om en mand” directed by Per Fly.
He performed the role of an assistant director during the making of the feature film entitled “33 SCENY Z ŻYCIA (33 SCENES FROM LIFE)”, directed by Małgorzata Szumowska.
He is the author of a full-length screenplay for “Płynące Wieżowce (Floating Tower Blocks)”, “Zjednoczone Stany Miłości (The United States of Love)” and the screenplay for “W sypialni (In The Bedroom)”.