New Lives

This subdued and subtle film (written and directed by Joey Schweitzer) is masterfully concocted with a powerful chemical mixture of delicate performances, precise storytelling and restrained cinematography – all to tell the story of a holocaust survivor who must navigate the pressures of assimilation whilst contemplating the inescapable trauma of her past.

From its opening moments, New Lives establishes an atmosphere of quiet observation, allowing its characters to breathe within carefully composed spaces rather than forcing drama. The result is a piece that feels deeply intimate with the camera almost acting as a fly-on-the-wall watching a vignette of these people’s lives.

At the centre of the film are the wonderful performances of Weronika Wozniak and Antoni Danieluk, both of which carry the narrative with a remarkable subtlety that speaks their character’s emotions at high volume. Wozniak’s performance is especially striking in her restraint – she conveys inner conflict not through overt emotions, but through the smallest shifts in posture and micro-expressions. Danieluk on the other hand offers a performance that at first glance seems cold and sinister, but quickly gives way to the kind and tender man with a deep sadness behind his eyes. Together, the two share a dynamic that feels lived in rather than created. What makes their connection so compelling is the story’s refusal to push it into conventional romantic territory. There is a quiet connection between them that never crosses into anything romantic, instead choosing to remain platonic. This choice gives their relationship a stark authenticity. It is most evident in the gorgeous scene where Leo watches Manusha sing to his son in a moment of quiet beauty. Their bond feels rooted in shared understanding rather than desire, a portrayal that audiences may find refreshingly understated.

Although I would describe the cinematography as understated, cinematographer Kevin Yu’s work should not go unrecognised as it plays a key role in shaping the atmosphere of the film. His use of naturalistic light and carefully framed lingering shots reinforce the thematic focus on natural connection by allowing the performances to do most of the talking. The camera often remains still, allowing the performances to take precedence, and when it does move; it does so with deliberate purpose.

Schweitzer’s storytelling is equally subtle, electing for implication over overt exposition. Small moments carry significant weight, such as Leo and Manusha’s conversation in the alley. When Leo admits to dreaming about his son, Manusha clarifies “Jakub?”, to which Leo remains stoic and, without saying anything, retrieves a photograph of his other son. Conveyed without fanfare, this moment opens up an entire history that the film never fully explains – in some ways making the new information even more visceral as it allows the audience to fill in the gaps themselves.

New Lives is a film that understands the power of restraint and resists the urge to add unnecessary drama. Instead, it offers a nuanced portrayal of human connection that lingers long after the credits role, and perfectly achieves the story it sets out to tell.