Dokument muzyczny jako laboratorium sytuacji ekstremalnych. „Miłość” i „Some Kind of Monster”
Music documentary as a laboratory for extreme situations. Some Kind of Monster and Miłość

Summary/Abstract: The aim of this article is to demonstrate the potential of documentary cinemain portraying artistic struggles. Stylistically and aesthetically distant from each other, thebands Miłość (a leading group of the Polish yass scene) and Metallica share surprisinglyconvergent film portraits: Miłość (2010), directed by Filip Dzierżawski, and Some Kind ofMonster (2004), directed by Joe Berlinger and Bruce Sinofsky. Metallica, facing internaltensions, turned to a therapist, with the therapy sessions intertwining with the process ofcreating new material. In turn, Miłość stands on the verge of reactivation at a time wheneach of its members has developed a distinctly different artistic path – from avant-garde tomainstream. Both films reveal that by presenting internal conflicts through the form of theobservational documentary (Bill Nichols), cinematic narration gains greater engagementpotential, allowing viewers to connect with these documentaries as if they were followingfictional stories.

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