Wojciech Puś / FILMMAKING, POLITICS & SEX / Contemporary Lynx / Dobromiła Błaszczyk


“Dobromiła Błaszczyk: In your most recent project, the film Endless, you combine various disciplines. But such a strategy has been present throughout your work. No matter what medium you use, it isn’t an end unto itself; what matters is what you want to say through it. It is your own issues that you try to solve; those are highly intimate stories…

Wojciech Puś: What matters in the first place is not technology, you know – though, admittedly, it is fascinating and important too – but the story and the emotions that I try to convey. It seems to me that in every work there occurs a moment when the process becomes as important as the intended result. Endless is such a project. The story is based on the biography of a friend of mine who has undergone a sex change procedure. We’re in the process of stitching this material together with themes inspired by Alain Robbe-Grillet’s short story, Last Year at Marienbad, and by autobiographical fragments of Paul Preciado’s book, Testo Junkie: Sex, Drugs and Biopolitics in the Pharmacopornographic Era. We’ve done the first test shootings and more are ahead. The script should be ready by early 2017 and then we move into pre-production phase. Endless, which is an international project in terms of crew and locations, was developed under the tutelage of Vitakuben’s Leif Magne Tangen during my half-year Feature Expanded residency in Manchester and Florence. In Poland the head producer is Iza Igel and her Harine Films, and in Germany it is Schuldenberg Films in Berlin. Due to the absurd political situation in Poland, I know that with this particular theme, with a highly nuanced script, lots of visuality, and an open approach to gender issues, we don’t have chances to produce our film here, at least mainstream way.”

Read full article at Contemporary Lynx‘s website.