All Day Together  //  Caly dzien razem (Orig.)

Originally the film was intended to be a portrait of a day in the life of a Japanese woman. The result is a narrative imbued with subtle humour about how the Polish filmmakers set out to pursue their original concept for the film of which they ultimately achieve almost nothing. _ Ms. Otake is constantly busy, she puts off the filmmakers until later; when it finally seems that she is about to start speaking about herself, she goes on instead about the landscape outside the window. Cultural barriers prevent us from learning more than what etiquette permits. The universally poor level of English just reinforces the superficial experience: we can witness behaviour, but we cannot understand it. _ The director is the comic hero, the guest that in good faith wanted to convey a sense of life in another country, but in the end becomes a tiresome pest that the hosts feel compelled to drive off. He and the cameraman spend hours waiting. _ A remarkable feature of the film is the non-encounter it relates, which comes to form its central (and amusing) theme. The main attraction is the aloofness of the heroine: a sprightly seventy-year-old woman plays a game with Europeans about how boundaries cannot be crossed, and all that remains for them is to while away time in waiting areas. _ The director Marcin Koszalka studied sociology and then camera at Silesia University in Katovice. He shot this film about a Japanese woman during EXPO 2005. He is currently involved in the first Polish-Chinese co-production as a cameraman.