The End of the World

The End of the World is a story about a journey—both physical and emotional. At its core, it is a film about loss, otherness, and the struggle to bridge the gap between two people. Inspired by Wiesław Myśliwski’s novel The Horizon, our story unfolds in a timeless, dreamlike world where reality and memory blur together.

At the heart of the film is the relationship between Kaziuń and his daughter, Sula. Kaziuń is different—he sees the world through his own, almost mythical lens, deeply connected to nature. Sula, growing older, finds herself drifting away from him, unable to understand his choices. When he suddenly leaves, setting off on a long-awaited journey to the "end of the world," she follows—determined to bring him back. But as they travel, she begins to see him differently. What starts as a chase becomes something much deeper—a reckoning with grief, a rediscovery of home, and an understanding that being different does not mean being lost.

Visually, the film embraces a poetic, almost fairy-tale quality, drawing inspiration from Matthew’s Days. We wanted to create a world that feels both grounded and ethereal, where nature is as much a character as the people within it. Filming in remote mountain locations came with challenges—unpredictable weather often forced us to stop. But sometimes, nature surprised us in the best way. The thick fog you see in the film wasn’t planned—it was simply there, waiting for us at sunrise over the lake, perfectly in tune with the story we were telling.

More than anything, The End of the World is about the invisible threads that connect us to the people we love, even when we don’t fully understand them. I hope this film resonates with audiences as not just a journey into Sula and Kaziuń’s world, but as a reflection on their own relationships—on the things we lose, the things we find, and the places we call home.