SWINKI (PIGGIES)
Poland, 2009, 94 minutes, Colour.
Filip Garbacz.
Directed by Robert Glinski.
It would be best to see this film without knowing anything about it so unpredictable and sad it is.
However, if you choose to read this, it should be pointed out that the title refers to teenagers who prostitute themselves not just for money but for anything they want – and they tend to be extremely self-centred and mercenary that they want and expect it instantly. Not that this is something particularly Polish, but here is a story of teenagers, especially 16 year old Tomak, a bright student whom his football coach father considers a wimp, who seems reserved and ordinary but who becomes infatuated with a selfish girl, Martha, which leads in directions for his life that he never dreamed to (and which the audience in the first part of the film would not have dreamed of either).
At the beginning of the 21st century, the younger generation really know and understand very little of the older generation who grew up with Communist austerity. The parents probably cannot imagine their children behaving as they do. We are gradually introduced to the prostitution racket in the town which is near the border with Germany where the customers come by car – and where the teenagers go to buy at the better-stocked stores. The membership of the European Union will bring more prosperity, they hope, or else offer opportunities to go to western member countries for work and to make money.
The film is so detailed in its presentation of life in the town that we feel we have not only been there but lived there – and the misery and moral vacuum we find are all the more disheartening. The church is presented with a not unreasonable and positive presence – but not enough to dissuade the materialistic young people from the life of gratification.
Filip Garbacz, who had not acted before, gives a compelling, even alarming, performance as Tomak. The rest of the cast, of each generation, is credible.
Some films are a cry from the depths for something better, or for God. Taking the title from Gaspar Noe's nihilistic film, Enter the Void, Swinki shows us a local void which too many characters cannot get out of.
1.The impact of the film? Serious and sobering? Its documentary style? The portrait of Poland today, the moral vacuum?
2.The town, western Poland, the German border, the contrast with affluent Germany? The homes, the shops? The church? The bars and clubs? The contrast with the affluent German shops? The visit to Berlin for the gay parade? The musical score?
3.The title, its reference to teen prostitutes? As dramatised in this film – the prostitutes themselves, the teenagers and their way of life, a moral and hedonistic prostitution of their values?
4.The realism, the attention to detail, depiction of the people, the way of life and behaviour?
5.Tomak as the focus? The strength of the performance of the young actor? Age sixteen, his family, relationship with his parents, his sister? The introduction to him in the football field, his lack of ability? Being sent off? His friendship with Ciemny, Ciemny leaving to go with Tomak? At home, his study, his ambitions for the school to buy a telescope? His trying to find ways to raise the money? The German teacher and his support? The priest and his friendship, talking with Tomak at the choir, inviting him to sing, to go to the rally? His going to the rally and enjoying it? His sister, her wanting to go to Germany or England, her laziness in studies, his arguing with her? His mother and her work as a nurse? Hard work in the home? His father as the football coach, the clashes with him and his father despising him?
6.His going to the bar to get his sister’s notebook, meeting the girls? The mistaken identity at the bar? The talk with Marta? The infatuation, her inviting him to dance? The friendship, her talking about needing a thousand euros to get her teeth done? His wanting to do this for her? His hard works and small payment with the physical jobs? The ridicule of his father? His mother and the broken injections and his finding the money to pay for them?
7.At the club, seeing Ciemny with a client in the toilet? His reaction, moral comment, comment about seeing the priest? With Ciemny, meeting Borys? The customer and his wanting Tomak? The pressure from Borys, the promise of the money? His moral decision, his going, resisting the client? Return, the money, the change in Tomak?
8.Marta at the bar, talking, with the older man, Tomak’s jealousy? Their going in the car, at speed? Going shopping in Germany, Marta wanting the sneakers, her seductive cajoling of Tomak, his buying them? Going to Berlin, participating in the parade? Her not wanting to walk, thirty-six euros for the taxi, his refusal? Her petulance? Seeing Marta with the older man, his anger?
9.The trio, with Max in the car, talking, the boy silent? Waiting for Max? Being bashed, dumped? The mother caring for him medically? His anger, lies? His mother taking him to the priest, his turning away, insulting the priest? Ciemny, and his dependence on Tomak? Tomak and his decision to report Borys to the police, the raid, the arrests?
10.Tomak and his decision to take over, tough, sending the young boys with the client? Ciemny and his sending him with Max, Ciemny bashed, in hospital, going to see him, Ciemny’s hatred, Tomak’s mother looking after Ciemny? The news that he had died? Tomak and his ruthlessness?
11.The picture of the customers, Germans? The arrest, prison, Max and the cell?
12.The interrogations, his sullenness, silence?
13.The guard, the coffee machine not working, not hearing the noise? Tomak and Max offering him money to be silent, Tomak bashing him, anger and vengeance?
14.The end for Tomak? A descent into an immoral world? Amoral and immoral choices? Into a hell?
15.The film as a commentary on Poland after the fall of communism? The young, their not knowing communism? Hedonism, instant satisfaction – especially in the character of Marta? The critique of Poland – and a pessimism for the future?
