LOVELY. A Haunting Polish Musical Horror [REVIEW]

In recent months, I’ve had the opportunity to write about two Polish productions exploring themes of loss and grief over a loved one — Challenge of the Bow by Łukasz Barczyk and Where Do We Begin, the debut of Monika Majorek. Both films approach the subject from different angles — Challenge of the Bow focuses on processing personal trauma, while Where Do We Begin examines how sudden death affects the remaining family members. I bring this up because LOVELY. (original title: MIŁO.), a short film by Mateusz Motyka, also tackles grief — and it’s another meaningful entry on the subject.

What makes it stand out is its unconventional form: the filmmaker describes LOVELY. as a “musical horror.” Music indeed plays a crucial role — the film features original compositions by the band DWAKA, with arrangements and musical direction by Katarzyna Kessling from the Accantus studio. At its heart, however, LOVELY. tells the story of Kuba — a musician who begins to lose touch with reality after the death of his partner’s brother. One day, during a live radio concert, Kuba sees the deceased. From that moment on, his slow emotional unraveling begins, haunted by mounting guilt. Why? That’s revealed in the film’s powerful climax. Beyond its musical aspects, LOVELY. draws attention with its striking visual style. Bathed in shades of gray, the film looks excellent thanks to its play of light and shadow and the outstanding cinematography by Mateusz Klimek. It becomes truly atmospheric, especially in its horror-tinged scenes — with intriguing format changes adding tension. The monochrome palette also reflects the emotional numbness of the characters — after all, when mourning, color can feel absent from the world.

The emotional core of the film rests on the performances of Maciej Pawlak and Masza Wągrocka. Wągrocka, already experienced on screen (notably in Mothers of Penguins), again proves her undeniable talent. Pawlak, meanwhile, is making his screen debut after a background in theater — and his role is not an easy one, particularly during the pivotal moment when an audio recording reveals the truth behind the story. The camera lingers on him for several minutes, capturing his unspoken reactions. It’s the most emotionally charged sequence of the film — steeped in sorrow, regret, and Kuba’s crushing guilt.

One can’t help but wonder: how might things have turned out had he acted differently? While LOVELY. contains traditional horror elements, the real terror for its protagonist lies in the unanswerable — he’ll never know what might have been. That haunting uncertainty follows him, and self-forgiveness remains out of reach. All that’s left is grief. The music also holds up well — the songs are catchy (especially Ogólnie szkoda mi) and well performed, including by Tomasz Włosok in a significant voice role. Performance-wise, LOVELY. is impressive and emotionally engaging, which is vital for such a theme. It’s another compelling Polish production exploring death and mourning — and also love — made especially attractive by its distinctive form.

I’m genuinely curious to see what Mateusz Motyka could do with a feature-length film. He clearly has a strong eye for visual storytelling, an instinct for emotion, and a skill for directing actors — all of which require deep mutual trust. How would he harness those strengths in a longer format? I hope I get the chance to find out.