Krajobraz stepu w filmowej adaptacji Wszystko, co najważniejsze… a posttraumatyczna narracja zesłańcza
The Steppe Landscape in the Film Adaptation of All That Really Matters… and the Post-traumatic Exile Narrative

Summary/Abstract: The article is an attempt to analyze the strategy used in Robert Gliński’s film All That Really Matters… that consists of depicting the steppe landscape in close connection with the post-traumatic narrative. The steppe landscape is presented as a topographic space of exile, and at the same time, due to the photogénie factor, it constitutes an element that aesthetically softens the impact of this film on the viewer as an example of a post-traumatic work. Using the landscape as part of the observation al-participatory tactics, the director also tried to highlight the meanings given to the depiction of the vast spaces of the steppe, which are justified by the original memories of the main character – Ola Watowa, as referring to transcendent meanings. An important aspect of the aforementioned strategy of depicting the landscape was also treating it as a “medium” of the Kazakh culture, which allowed for emphasizing the common experience of historical trauma both among them and the exiles.

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