这部电影最妙的地方在于——它把“恐惧”拆成了藏在日常褶皱里的刺，不喊不叫，却扎得人后颈发凉。不过别抱太大期待啊，它就是那种，小，但是冷的类型。我最吃这套东欧味的阴郁，冬天蹭着暖气看刚刚好。适合偏爱**“慢恐怖”** 、享受“用细节拼贴谜面”的观众：他们会在主角反复整理围巾的动作里，察觉出比鬼屋尖叫更刺骨的——人性在集体噤声中的慢慢冻僵。影片大量采用固定机位长镜头，将Damiecki饰演的主角困在逼仄的公寓空间内，摄影机如同一个沉默的观察者，拒绝任何廉价的jump scare，让恐惧从日常生活的缝隙中缓慢渗透。 Wardejn和Press的对手戏有种诡异的日常感，就像你邻居家的老头们下棋时会说的闲话，但话题慢慢滑向某个你完全不想触碰的地方。

　　Lucjan is a theatre actor whose health is failing. He forgets his lines on stage and feels confused and out of place in his daily life. He decides to end his acting career and soon winds up in a nursing home. In this new place, the elderly man misses his late wife. He starts having nightmares that seem to become real. In one of them, he discovers a passage into a magical world deceptively similar to his theatre. Lucjan starts living in two parallel dimensions – real life and the fairy tale – that become increasingly dependent on each other and intertwined. His immersion in the imaginary world leads to an unexpected ending. A bittersweet treatise on passing. The fairy-tale world Lucjan creates is not so much a metaphor for death as a symbolic reconciliation to its coming.

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