“The Zone of Curiosity” producer Ewa Puszczyńska has teamed up with France’s Elzévir Movies and Eire’s Copper Alley Prods. on “Protected and Silent,” backed by Arte France.

“I made a decision to hitch the challenge due to the standard of the script. It made me excited and so was Arte once they determined to come back on board,” says Denis Carot, who will co-produce alongside Ulysse Payet and Copper Alley’s Lara Hickey.

“I had an excellent expertise collaborating with Polish companions on [Jean-Pierre Bacri starrer] ‘Again in Enterprise,’ which we shot in Poland again in 2016. There are numerous gifted and skilled producers and Ewa is definitely among the finest amongst them. Her spectacular filmography speaks for itself,” provides Carot.

Whereas “The Zone of Curiosity” scored 5 Oscar nominations this 12 months, Puszczyńska skilled Oscar glory with Paweł Pawlikowski’s foreign-language movie winner “Ida” (2015) and nominee “Chilly Struggle” (2019). Now, she desires to deal with rising feminine filmmakers.

“I’ve been advocating for locating new methods permitting ladies to make their debuts. It was time to show these phrases into motion,” she says. She can be growing Ulrike Tony Vahl’s “Crux” and Marta Prus’ “Evening Butterflies.”

“Protected and Silent,” directed by rookie Justyna Tafel, can be lensed by Kate McCullough, winner of the European Movie Award for “The Quiet Woman.” Within the movie, considered one of Poland’s main actors, Agnieszka Grochowska, will play a lately divorced lady, Kinga, who desires to create a refuge for her kids and choses a gated group stuffed with surveillance cameras as a spot to dwell.

“Over the course of the story, we’re attending to know this household and we study what occurs when folks don’t belief one another. It’s a miniaturized picture of contemporary society,” says Puszczyńska. “The speedy improvement of expertise has resulted in vital social adjustments. The surveillance society erects partitions and fences, closes gates and always screens our area. Anybody who doesn’t belong in our ‘bubble,’ anybody who’s from the surface is perceived as a stranger or an enemy, somebody suspicious and inferior.”

Tafel was impressed by private experiences and by observing social adjustments on the earth after 9/11, she says. “My very own experiences made me fascinated by what goes on within the head of a caring, loving mom who solely desires what’s finest for her kids. The primary time Kinga makes use of the simply accessible surveillance instruments accessible at her new dwelling, she does it by probability. They convey her solace.”

However the instruments that have been supposed to offer her a way of safety solely intensify her worry.

“Kinga slides deeper and deeper into habit to remark and management, however she at all times is aware of too little. I additionally know that the obsession with management is most harmful to the one who does the controlling,” she says.

“I perceive why folks, particularly mother and father, when confronted with this dilemma — security or freedom — will panic and select the previous. We can not see the value we’re paying. This movie is a product of my fascination with an enigmatic feeling that’s belief. As soon as misplaced, it may by no means be regained, nevertheless it’s an important ingredient of maybe essentially the most worthwhile of all emotions: love,” the director says.

Expertise will affect the look of the movie, says Tafel, mentioning “Blow-Up,” “The Dialog” and “Hidden.” Sound — “or quite the dearth of it” — will even play an necessary half.

“The disturbing silence in my movie, accompanying the lonely viewing of surveillance supplies, is a reminder that with out direct human contact, we by no means have entry to the complete image of the world,” she says. “It’s necessary that viewers really feel Kinga’s anxiousness and expertise the identical aid. That’s exactly why I enrich psychological drama with components of a thriller. somebody by way of a surveillance digital camera mechanically profiles them as an outsider and, consequently, as a risk. Characters and objects will seem and disappear, creating the sensation there may be at all times ‘one thing lurking across the nook’.”

“This movie will discover its viewers,” says Puszczyńska. “It’s changing into increasingly tough to dwell in a society of suspicion and false data. I’m not so naïve as to suppose that films can change the world. However I consider they’ll stir the creativeness and the need to speak.”