To enjoy this film you'll have to ignore the insulting quantity of errors done by the authorities. There's 3 policemen and 1 policewoman, their chief, a firetruck with at least 3 firemen, 2 ambulances with at least 3 paramedics, but no one is doing ANYTHING.

A rookie policeman just barfs and is being bro-ish, a serious policeman practically hands his gun to a civilian, policewoman is disrespected everywhere. Paramedics never even started the ambulances to go to the hospital, they're basically parked waiting for God knows what. The chief is walking around here and there without giving instructions, just talks on the phone. Civilians cross lines (policemen/firemen/paramedics do nothing),to attack perpetrators escape car (police soooort of try to stop them),once civilians got the perpetrator out of the escape car they decide to just stand like zombies once they violently tak. A ghost helicopter appears out of thin air, literally, but it does nothing.

There's a camera that recorded the incident, but nevermind about that; the chief found way more critic a clip of the perpetrator having sex.

If this film is a critique to polish police, firemen and paramedics, then I'd rate it a 7.

The debut feature from writer/director Bartosz Kruhlik, Supernova is an excellently made and thematically fascinating film that manages to pack a lot into its 78 minutes; multiple well-rounded characters, several well-developed plot strands, socio-political commentary, existential musing, and a dénouement that throws everything we've seen into relief.

The film opens on a Sunday morning in an unspecified area in rural Poland. On a quiet country road, we're introduced to Iwona Matys (Agnieszka Skibicka) and her two young children, Pawelek (Borys Bartlomiejczyk) and Piotrus (Iwo Rajski),who emerge from their home, pursued by her husband, Michal (Marcin Zarzeczny). Even at this early hour, Michal is already drunk, and it quickly becomes apparent that Iwona is in the process of leaving him, taking the children with her. As he loses pace with them, he hails down a passing car driven by Adam Nowak (Marcin Hycnar),an arrogant politician. As Michal leans into the car, he throws up, causing Adam to speed away. However, in his disgust Adam takes his eyes off the road, resulting in a horrifying crash from which he immediately flees. Completely unaware of the collision, however, Michal passes out in a ditch. Meanwhile, two policemen - Slawek (Marek Braun) a veteran known for his calm demeanour, and his young, enthusiastic-to-a-fault partner Mlody (Michal Pawlik) - receive the call to attend the crash. Arriving at the location, they find an ambulance and fire-brigade already in attendance, but when he surveys the scene, the usually unflappable Slawek reacts in utter horror. Soon thereafter Zygmunt (Dariusz Dluzewski),the acerbic but efficient Komendant of the force, arrives with explicit orders to minimise the fall-out for Adam, who has by now returned to the scene. However, as word spreads through the local community, a crowd gathers, and as Adam's role in the crash becomes apparent, the locals' thoughts turn to vengeance. As the police attempt to contain the situation, Michal, Adam, and Slawek find themselves in a situation from which none of them will emerge unscathed.

Kruhlik uses the site of the crash as a kind of representative microcosm, an allegorical melting pot wherein he examines issues such as group mentality, political arrogance, the abuse of law, alcoholism, the difficulties of police work, and the ghoulish curiosity which leads people to take out their phones to record a tragedy before they think to offer assistance. The two main themes, however, are the dissemination of communal anger (the "Supernova" of the title refers to the build-up of emotion that seems like it can only result in a devastating explosion) and the idea that a life-altering event for one person is nothing more than a traffic jam for another. Whilst Michal, Adam, and Slawek are having their entire existence ripped out from under them, others find the situation a mild inconvenience that necessities a slight change in travel plans. Meanwhile, the crowd of onlookers, at first morbidly curious, soon turn aggressive as word of Adam's actions percolate through their number and they realise that he may use his position to worm his way out of culpability. And so the feeling of anger rapidly spreads like a kind of emotional Chinese whisper, with each member of the group influencing the thinking of those around them. It's all very interesting and maturely handled by Kruhlik as we find ourselves getting drawn into this increasingly dangerous and unpredictable situation.

One of the most impressive aspects of the film is how much character development Kruhlik packs in. We learn a lot more about the three main characters than you might expect in such a short film, but others are fleshed out too; Mlody and Zygmunt, for example, both receive some backstory, as does Magda (Anna Mrozowska),a nervous young policewoman unsure how to react to three youths aggressively hitting on her. The screenplay is structurally very simple (it was purposely written to be shot on a shoestring budget),but this simplicity does not preclude thematic complexity or character interiority. The film is also aesthetically impressive, with cinematographer Michal Dymek employing long takes that make use of the geography of the single location. The opening shot, for example, begins on the Matys home, follows Iwona and Michal some way down the road, pauses to show Michal trying to get into Adam's car, and then finally comes to rest on Michal as he falls asleep in a ditch. With the film also taking place in something close to real-time, this creates a strong sense of almost documentarian immediacy.

All things considered, I thought Supernova was an impressive debut. It's fairly slight, but it's very competently made, and it has some interesting things to say about fate and how we are all, naturally enough, each at the centre of our own conception of reality.

I often see the debut films of the great filmmakers and I notice signs and qualities that indicate the talent that will develop in a wonderful career. 'Supernova', the film written and directed in 2019 by Polish filmmaker Bartosz Kruhlik is not only a remarkable debut in writing and film quality. It's also half of a very good movie, but a movie that ends abruptly and surprisingly. I almost had the feeling that the screening stopped half way. Its duration (74 minutes) is on the border between medium and long, certainly a few tens of minutes shorter than the 'standard' length of today's movies. Were there any production or financing problems? I don't know, but on the other hand, Kruhlik being the only screenwriter, the decision regarding the duration and the narrative structure may have belonged entirely to him. We may have to wait for his future films to understand if this was a production accident, a style decision or a long-term trend. In any case, I will try to follow a career that promises much.

The film begins with a long frame, shot with the camera on the shoulder. The scene takes place on a road in a village somewhere in a remote corner of Poland. We witness a separation, a woman with two small children leaves home followed by her visibly drunk husband (Marcin Zarzeczny),who at one point falls into a ditch. We hear a terrible noise. There was a serious traffic accident. The road is blocked, the police appear, one of the cops (Marek Braun) seems to know the victims. The accident was caused by the driver of an Audi, a guy in a suit (Marcin Hycnar) visibly belonging to another world, at least from a social point of view. The guilty driver first flees the scene of the accident, then returns, not before calling for help a troupe of lawyers and government officials. Ambulances, firefighters, other police officers appear, including the head of the local police, a man on the verge of his retirement. The crowd also gathers, more and more agitated, the victims are recognized, people demand accountability, they are afraid of covering up of the case, as it seems to happen often also in Poland when those responsible belong to the upper classes. From a family quarrel, the story evolves and combines police investigation, social drama, political conflict between rich and poor Poland, and a dose of fantasy. They all line up and develop logically, we are dealing with the well-directed construction of a crescendo, and then ... the film ends.

70 of the 74 minutes the film manages to concentrate and expose an entire social and human universe . Director and screenwriter Bartosz Kruhlik manages to create characters that develop in the time dedicated to them on screen, from routine to shock, revolt and action. Each of the characters is believable and convincing, and the acting performances are excellent. In the last four minutes, the story receives a twist not exactly related to what had happened until then, which tries to give a different meaning to what we have seen before. This ending did not convince me. Of course, I will not reveal it. I recommend watching 'Supernova', there are many good reasons for cinephile satisfaction anyway, and maybe other viewers will find more logic and interest in the ending than me. Bartosz Kruhlik's is, however, a career to follow.