But if that's the case, why does the rest of the general public like the people in the bar - seem unconcerned? If it isn't such a huge problem, why is there a new government agency created to battle them. Is this a global intense plague of vampires? The darkened lights of New York made me think so. (I'm sure the director would say the same thing.) Also, I was little confused about the initial situation. I would have liked to have seen this film done on a bigger budget. Shot over a year and a half, the film focuses on real life friends Krzysztof Baginski and Michal Huszcza as they party around Warsaw and how their relationship struggles when Baginski begins a relationship with Eva Lebeuf, the French-Polish ex-girlfriend of Huszcza. That's a pity since, unlike a lot of horror films in this budget range, the script does endeavor to give the characters some depth and genuine emotion and motivation. All These Sleepless Nights (Polish: Wszystkie nieprzespane noce) is a 2016 Polish docufictional film by Micha Marczak. The cast of unknowns, although lacking charisma, make the best of the action scenes, but they lack the acting chops to make the 'human' moments believable. The script and direction by William Hopkins was passable, but the film suffered more as a result of its humanity than its vampirism. They were also determined to ensure that their film looked cinematic, not like grungy vérité footage shot on the hoof after closing time.A good vampire teams up with a federal agent to kill a master vampire in this promising but ultimately unsatisfying thriller. They needed to show the same stamina and energy as their two young subjects. He and his technicians made sure their gear was lightweight and their cameras had enough battery life to shoot for hours at a time. Sometimes, we’d have a day off just to prepare all the gear,” Marczak recalls. “I was extremely strict about all the technical stuff. Marczak would shoot the young hedonists on the streets and rooftops or at their parties but he would then re-record their dialogue. Kris and Michal are art students who are performing as themselves for the filmmakers. There was never the attempt to hide the camera. All These Sleepless Nights blurs lines between what would normally be considered documentary and what is drama. There’s a something bizarre about the idea of a film crew following the two young men from party to party, filming them at raves and at their most intimate moments. Those younger people who are out on the streets all night, they somehow all know each other.” “For the first time in Poland, we have this completely free generation,” Marczak, in his mid-thirties himself, says of his twenty-something protagonists. The Warsaw of All These Sleepless Nights is certainly a much more alluring place than the grey, oppressive city shown in so many episodes of Krzysztof Kieslowski’s Dekalog or in Andrzej Wajda films of the 1970s and 1980s. There’d be curfews, secret police and too much political weight to carry, and no one would have had the money or the time to devote themselves to such narcissistic enjoyment. When Poland was under martial law, he says, you wouldn’t find youngsters roaming from party to party, “taking over the streets and the clubs”. The film is also intended as a little slice of social history. These were key formative moments in their protagonists’ lives. Marczak and his crew followed the friends on their night-time for over a year, for “two summers and a winter”, as he puts it. “This has been happening in cinema for a long time,” he says. He adds that other directors such as Abbas Kiarostami, Michael Winterbottom and Robert Flaherty have also combined documentary and dramatic techniques in the same way.
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