The film was shot on over­due ORWO tape, and con­fronts the experience of total dark­ness and blin­ding sun, at the same time con­fron­ting Sasnal’s artistic prac­tice peculiar to film and pain­ting. Most of the scenes were filmed in the artist’s family home and studio. The Polish title, “Koreks”—which is a name for a developing tank used to create negatives—refers to the undeveloped reel of film from 25 years ago, sup­posedly found in the basement of the house. The story describes an existential ten­sion associated with the experience of paren­thood and maturity—being son and father at the same time. Images from the past and memory, often unreal, over­lap in the film with the presence and reality, just as generations do. In fact, it’s Sasnal’s father and son star­ring in the movie, and his own presence is represen­ted in the images of pain­tings he created, being presen­ted to the camera by both.