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    Title FATHER
    Original title Ojciec
    Year of production 2015
    Country Poland
    Scriptwriter Artur Urbanski
    Director Artur Urbanski
    ScripTeast Edition V
    Creative Advisors Christoph Thoke
    Head of Studies Tom Abrams
    K Kieslowski ScripTeast Award/Special mention
    Producers/co-producers/ funding /  (WFDiF) Warszawa, co produced by Lightcraft  with suport of Polish Film Institute
    Sales agent
    Distributor Kino Świat
    Trailer https://www.youtube.com/watch?v=qDErGnsCK8c
    Poster http://www.imdb.com/title/tt5017000/
    Festivals/ awards/ cinema results · Koszalin 2015 (Debut Festival “Młodzi i Film”)- Best Sound

    · Wrocław 2015 (Festiwal Aktorstwa Filmowego im. Tadeusza Szymkowa)-“Złoty Szczeniak” – Best Supporting role –Zygmunt Malanowicz

    Synopsis Konstanty, a 40-year-old artist, receives the news about his father’s death. Because his girlfriend Mila is in her last days of pregnancy, the man faces a dilemma: to attend his parent’s funeral or to assist during childbirth. He decides to stay. The child is born. Konstanty tries to adapt to being a father and tackle the associated responsibilities. However, the shock brought on by the simultaneous birth and death pulls the protagonist into an inner world of meetings with his father. Konstanty delves deeper and deeper, drifting away from reality…
    Full Credits http://www.imdb.com/title/tt5017000/?ref_=nm_knf_i2
    Link to the project – archive http://scripteast.pl/father/


    Konstanty and Malgosia are a couple from Poland who live in New York. Malgosia is a model who dreams of a career as an actor. She’s been studying at the Actors Studio for a year. Konstanty is an unemployed artist. He came here to take care of Malgosia since it turned out that they’ll have a baby. On the day before the due date they find out that Konstanty’s Father, who lived alone in Poland, died in a fire. Konstanty decides that he won’t go to the funeral but rather will stay in New York to assist in the childbirth.

    Konstanty is dazed and happy when the child comes home. He tries to get accustomed to his new role and cope with his new responsibilities. He takes care of the baby and Malgosia but he can’t seem to get over his Father’s death and he starts to feel guilty for not going to the funeral. Konstanty’s imagination takes him to Father’s neglected and dirty apartment to meet the old recluse. The reality of the meeting urges Konstanty to start conversations about their own pasts and about Father’s life, who he knows little about.

    The old man is surprised by the news of his newborn grandson, but he’s very happy about it. He insists on offering Konstanty food which he prepared himself, all the while telling anecdotes and reciting poems. During their time together we find Father to be well-versed in poetry and knowledgeable about inventors and we learn about a few of their common experiences from the past.

    Konstanty begins to live in two worlds. He helps bathe his child, does the shopping, cooks, does the laundry, yet mentally he’s absent. Father’s world and Konstanty’s need to get to know him engulfs Konstanty and cuts him off from reality. It starts to negatively affect his relationship with Malgosia. Konstanty becomes silent, closed off and not careful. At night he falls into a trance of parasomnia which Malgosia can’t wake him up out of. Though she is concerned, she also feels helpless and alone. One day, Konstanty’s inattention leads to an accident. He heats up the baby’s milk too hot and the child gets burned.

    Konstanty and Malgosia’s relationship becomes strained. Their arguments expose hidden resentment and misunderstandings. Malgosia accuses him of inactivity and living off of her money. She tells Konstanty that she plans on returning to work as a model. Konstanty demands that they go back to Poland since he doesn’t see any opportunity for work in New York. They agree to return to Poland but the next day Malgosia is offered a chance to participate in a screen test for a film. The prospect of returning becomes less and less realistic.

    Malgosia is completely absorbed in preparation for the role. She takes part in a multileveled casting and spends a lot of time away from home. The baby is left under Konstanty’s care. Father’s world has totally captured his imagination. Both of the realities he lives in begin to meld into one another. While pushing the baby carriage, Konstanty shows Father around New York and Long Island. When they are in Father’s apartment, people appear who Father knew while he was alive. Konstanty meets his brother Antos, who came to change Father’s bedding, take care of him and patiently listen to his complaining about getting old. Konstanty’s brother blames him for making him totally responsible for taking care of Father. Father’s neighbor also comes to visit. The woman brings homemade cake and dotes over the old man, but behind his back she complains that he drinks too much. The cleaning lady, an acquaintance who commits suicide, a friend from years past…all make an appearance and complete the picture of Father’s life.

    There are days of silence between Konstanty and Malgosia. Konstanty sees her a few times in the company of the director of the future film and suspects she’s having an affair. She denies it. To release the tension, they go on a trip to the ocean. Konstanty separates from her on the beach and meets Father. He provokes Father to tell him about his past. The old man tries to get rid of him but is backed into a corner and tells Konstanty about his time in a concentration camp and his unsuccessful marriage. In a moment of weakness he admits to his son that he was a failure and he can’t answer his fundamental question: how to live. Their meeting ends with a scene of a fire which is started by a smoldering cigarette left by Father. Konstanty loses track of time and when he tries to find Malgosia on the beach it turns out that she already went home. When he gets back to the apartment, Malgosia insists that he goes to Poland for some time. She also tells him that she asked her mother to come to New York to help her take care of the baby.

    Konstanty visits his Father’s grave when he gets to Poland and sells his apartment to a loud family with many kids. While returning from the town Father lived in, Konstanty gets a call from Malgosia. She asks him for a divorce and hangs up. Several years later they meet at the airport in Poland. Malgosia drops of their three year old son who will spend vacation with his Father.

    July 06, 2015


    Artur Urbański

    Film and theatre director, actor (born 1965)

    In 1990 he graduated from Lodz Film School in Acting. In 1995, in the same school, he earned a degree in Directing.

    During his studies he already directed short movies that were screened and awarded at European and American festivals and were shown during contemporary art exhibitions.

    His feature debut was „Bellissima” screened at many international festivals including IFF Toronto (Discoveries section) and Venice. The film received many awards i.a.: Young Marco Polo Premio Award for the Best Young Director at Venice International Tv Festival 2001, CANAL GRANDE AWARD for the Best Female Leading Role for Ewa Kasprzyk at Venice International Tv Festival 2002, Jantar Award for the Best Director at Youth and Film Festival in Koszalin 2001, Best Directing Debut Award at Gdynia Polish Film Festival 2001 and others.
    His second feature documentary film ” Sometimes, as I wake up at night I do not know where I am” (“Letter to Friends”) was realized in 2005.

    Urbanski debuted as a theatre director in 1993. He’s currently collaborating with TR Warszawa, where he directed e.g. “Howie and Rookie Lee” by Mark O’Rowe and “The Treatment” by Martin Crimp, for which he received many awards. His last play is “Faithless” by Ingmar Bergman. He received numerous theatre awards, for example: Award for the director for the shape of a stage performance on the 2nd Contemporary Drama Festival “The reality presented” in Zabrze, Main Prize during the 14th International Theatre Festival “On the Border” in Cieszyn.

    Udayan Prasad

    “ScripTeast is the programme all the advisors
    wish they could have attended at the start of their
    careers. It would have saved all that stumbling
    around in the dark looking for the key that
    stimulates the imagination so much more

    BAFTA nominated, director of “My Son the Fanatic”, “The Yellow Hankerchief” and ”Opa!”, 5th edition ScripTeast creative advisor, UK

    Tom Abrams

    “ScripTeast’s top-notch team of professional advisors,
    each year’s talented group of participants, and venues
    in Poland, Germany and France continue to make it the
    very best development workshop in the world today.”

    ScripTeast Head of Studies, Associate Professor – Screenwriting and Production at School of Cinematic Arts, USC, screenwriter and director, author of the script for the Oscar-nominated film “Shoeshine”, USA

    Scott Alexander

    “ScripTeast is a fascinating mix of cultures, political
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    participants learned a lot more. If only they served

    Golden Globe awarded author of “The People vs. Larry Flynt” and “Ed Wood” with two Oscars, 5th edition ScripTeast creative advisor, USA