Paweł Pawlikowski Exec Produces – and Praises – Doc ‘Silver’ as Director Natalia Koniarz Debuts Clip: ‘Brutal, Hypnotic and Profoundly Humane’ (EXCLUSIVE)

The cinematic world is abuzz with the upcoming documentary Silver, a profound and visceral exploration of Bolivia’s highest silver mine, executive produced by acclaimed filmmaker Paweł Pawlikowski. Director Natalia Koniarz’s debut feature has already garnered significant praise, with Pawlikowski — known for his Oscar-winning Ida and Oscar-nominated Cold War — describing it as “brutal, hypnotic and profoundly humane.” This Polish-Norwegian-Finnish co-production, led by Warsaw-based Telemark, promises to be a powerful and unvarnished look into a harsh reality.

Paweł Pawlikowski’s Endorsement of Silver

Paweł Pawlikowski’s involvement as an executive producer lends significant weight to Silver. His commendation of the film as a “sensory and poetic experience” that brings “images from the depths with remarkable clarity” underscores its distinctive aesthetic and narrative power. His precise feedback on sound, narration, and title proved invaluable to Koniarz, who sought his critical eye after years of working on the project. Koniarz admired Pawlikowski’s ethical approach and his previous documentary work, particularly Dostoevsky’s Travels, which resonated with her own vision for authentic storytelling.

The Distinctive Cinematography of Stanisław Cuske

Central to Silver‘s immersive quality is the cinematography by Stanisław Cuske, who is also collaborating with Pawlikowski on his upcoming drama 1949. Cuske’s work on Silver deeply influenced his perspective on documentary cinematography, leading him to rethink how reality is captured on screen. Drawing parallels to his experience as a camera operator on Jonathan Glazer’s The Zone of Interest, where cameras were strategically placed to observe without imposing, Cuske aimed for an intimate yet observational style.

The film deliberately avoids classical dramaturgy, instead relying on image and sound to convey its narrative. This required Cuske to consider how to portray the subjects’ perspective without forcing emotion, a challenge met by staying close to the action while maintaining an objective distance.

Cerro Rico: The Mountain that Eats Men

The documentary transports viewers to the foot of Bolivia’s Cerro Rico, a mountain infamously known as “a mountain that eats men” due to the immense human cost associated with its silver extraction. Miners and their families endure lives plagued by extreme poverty, frequent underground accidents, and the constant threat of violence. The average life expectancy for miners in Cerro Rico is tragically low, around 40 years.

Natalia Koniarz and Stanisław Cuske found themselves in Bolivia during the pandemic, a circumstance that unexpectedly led them to Cerro Rico. Living alongside the local community for several months, they witnessed the suffering firsthand, which prompted them to begin filming. This period also resulted in Koniarz’s award-winning short film, Postcards From the Verge.

Challenges and Ethical Considerations of Filming

The filming conditions within the mine were exceptionally harsh. Temperatures could soar to 55 degrees Celsius, and thick dust permeated the air. The crew relied solely on mining headlamps, navigating tunnels whose height dictated their pace. Cuske expressed his hope that the audience wouldn’t notice the filmmaking technique but would instead feel as if they had “laced up miners’ boots and taken a step forward.”

Beyond the physical challenges, Koniarz grappled with significant ethical dilemmas. She recognized the inherent asymmetry between her ability to leave and the miners’ inability to escape their circumstances. While living and befriending the locals, witnessing their suffering and the pervasive violence, Koniarz found herself unable to intervene directly, fearing the consequences for the community once she departed. This forced her to constantly confront her own beliefs and prejudices to achieve an insider’s perspective without imposing her own narrative.

The documentary also touches upon the local devil-worship practices, believed by some to protect the miners. Importantly, the film maintains an unflinching honesty, presenting nothing as “staged or beautified.”

Natalia Koniarz’s Vision and Ilkka Vehkalahti’s Influence

Koniarz’s vision for Silver was clear from the outset: no commentary or off-screen narration, and no single protagonist. The film’s meaning had to be conveyed entirely through image and sound, requiring immense discipline and countless hours spent underground, listening and waiting for authentic moments to unfold. The production also faced the profound loss of co-producer Ilkka Vehkalahti, whose company had been a significant influence on Koniarz’s work.

Conclusion

Silver stands as a testament to the power of observational documentary filmmaking, bringing to light the harsh realities faced by the communities sustained by Bolivia’s ancient silver mines. Under Paweł Pawlikowski’s executive production and Natalia Koniarz’s direction, with Stanisław Cuske’s striking cinematography, the film offers a rare and deeply human insight into a world of relentless struggle and enduring spirit. It promises to be a profoundly moving and thought-provoking cinematic experience, praised for its brutal honesty and hypnotic beauty.