365 Dni: Ten Dzień / 365 Days: This Day (2022)

dir. Barbara Białowąs, Tomasz Mandes

This sequel to the abominable 365 Days is, quite frankly, remarkable. Not because of its central toxic relationship, in which abuse, coercion and manipulation are cast as sexy and desirable. Not because of the silly mobster antics in the background which sometimes seem more like kids play-acting at gangsters than a legitimate threat. Not because of the totally absurd plot, which actually relies on the “secret identical twin” trope more suited to Bollywood or telenovelas than to a purported erotic thriller that’s meant to be taken seriously. No, the remarkable thing about This Day is the fact that it’s not a movie, not really. It’s more like a jukebox musical – at least, you’d think so, considering just how often a generic autotuned pop song starts playing, accompanying a montage of characters sailing or having sex or doing anything else which prevents them from needing to actually share dialogue. A boring, breath song like this starts playing in This Day, in lieu of an actual script, no fewer than 25 times. 25! In less than two hours! Not that a 365 Days script would be any good, but at least it would show some vague semblance of actually trying. This Day is genuinely shocking in terms of just how obviously it’s just not trying at all.

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