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下面是来自Hollywood Report的影评：
Jakub Gierszal goes from Valencia to Poland in his tale of young lovers dealing with a horrible secret.
PARK CITY — An aching look at first love in peril, Jacek Borcuch's Lasting shows viewers just enough of its protagonists' bliss to make us brokenhearted at the prospect of its premature end.
Fine-tuned on every level, it's unshowy but should generate strong enough word-of-mouth to succeed at the arthouse.
Jakub Gierszal and Magdalena Berus are Michal and Karina, college students who met in Poland and are enjoying an Edenic working holiday with Michal's family in Valencia. Blonde and radiating innocence, they seem to have been born to lose their virginity together. Their first scenes here -- jumping off a bridge together, rolling around in the grass and waking up back home with scrached-up torsos -- use the fewest possible brushstrokes to conjure a first love affair.
But on a solo scuba outing at a nearby lake, something terrible happens to Michal, disturbing him deeply and sending him back to school with a secret. When he shares it with Karina upon her own return to campus -- we watch the revelation from a distance, through a restaurant window -- it's more than she can handle. She's left alone to cope with her own life-changing news, which she never gets a chance to share.
Borcuch effectively evokes the deep sorrow of being alienated from the only person whose comfort you need; the film isn't indulgently mopey, but the light in Michal's and Karina's eyes has given way to dark circles and hopelessness, and neither is making very good decisions. A scene in which Karina tries to lose herself at a party recalls a half-dozen similar scenes in recent films, but without the condescension or melodrama they usually entail.
A classroom scene, in which a professor discusses how a single thing can have entirely different properties in daylight and at night, holds out hope for a game-changing perspective shift. But for 20 year-olds with no way of telling the end of the world from a navigable crisis, nothing is certain.

cineuropa的Review
Through the crack
by Dorota Hartwich
17/01/2013 - Youth, nature and intense emotions are like letters of the alphabet with which
Jacek Borcuchcomposes his cinematographic narratives. After the multi prize-winner All That I Love (Polish candidate for the 2011 Oscar), the director once again places these vigorous elements at the heart of Lasting (in competition at the Sundance Festival 2013 and selected for the Spectrum section in Rotterdam). Youth is once again the subject, embodied by two Polish students who fall madly in love while on holiday in Spain. But their relatively well-ordered vision of the world, their hopes, dreams and unspoken words will all be shattered by an impulsive act whose consequences are totally unpredictable.
Their lives are shattered. A kind of crack appears, through which they must pass in order to begin to carefully rebuild what they have lost. The two protagonists are very close to one another, yet they hide their own truths. They are together, but kept apart by their secrets. And having a secret you keep to yourself means being on your own...
"Can a few seconds, real or quantifiable, change our lives?” A positive answer seems self-evident: they can not only influence our lives, but transform them completely. However, the next question asked by Jacek Boruch in this film is not as simple: “How can they change them?” For the filmmaker, “as soon as we start thinking about this question, a fascinating trip into the unknown begins, towards distant regions of the imagination, where instinct and intuition serve as guides.”
Jacek Borcuch’s cinema is indeed both instinctive and intuitive. In Lasting and All That I Love, the narratives pulsate and vibrate with emotion, a territory in which the director is quite naturally at ease, avoiding the shackles of intellectual analysis. Borcuch does not try to impress with his staging skills, but rather seeks to create his own "cinéma d'auteur", emotional and authentic, at a distance from academism. He succeeds thanks to his talent, but especially because he tells stories based on his own personal experiences.
Compared to All That I Love, which was 90% based on his life, Lasting is based more on imagination, but nevertheless remains very close to the filmmaker’s past. It is, however, impossible to reduce his films to a journal of his own existence, as each one gives rise to reflexion: Jacek Borcuch approaches the realm of philosophy and studies the human condition. His last three films (Tulips, All That I Love and Lasting) all have simplicity and the subjective nature of the image in common. From one film to the next, the filmmaker reduces the means of expression, “diminishes the volume of the dialogue” (less expressive, more suggestive) and renders the image more poetic but also more moderate.Lasting is particularly striking thanks to the work of the director of photography
Michal Englert, his classic editing, and the subtle music composed by
Daniel Bloom.
Jacek Borcuch’s powerful and emotional cinema is also built thanks to the work of its actors, with young actors in the main roles. Beside
Jakub Gierszal (Shooting Star 2012 of the EFP, discovered in All That I Love before he won notoriety with Suicide Room), we find the new face of
Magdalena Berus (Baby Blues). They are accompanied by Andrzej Chyra, Joanna Kulig and Spanish actors Angela Molina and Juanjo Ballesta. Lasting is the result of a co-production between Poland (Manana) and Spain (Espiral Producciones), a first for a Borcuch film.

cineuropa对导演的采访
"I'm on the side of the human being"
by Dorota Hartwich
17/01/2013 - In the wake of its world premiere at the Sundance Festival 2013 in the World Cinema Dramatic competition, Lasting by Polish director
Jacek Borcuch premiered in Europe at the Rotterdam Film Festival, in the Spectrum section. It is the director’s 4th fiction feature film after Caulliflowerr, Tulips and All That I Love (selected for Sundance in 2010 and Polish candidate for the 2011 Oscar).
Cineuropa: You've played the piano, tried to become an opera singer and had a go at acting before becoming a director. Why did you finally choose this path?
Jacek Borcuch: There was another step, because I also studied philosophy. It took me a long time to find my place. After acting in The Debt by Krzysztof Krauze, I was totally worn out, I felt as if what I was doing was artificial: I imagined myself doing something different. It was the end of the 90s, a very difficult time for Polish cinema, but also a time during which new technologies meant that movies could be filmed independently, you could make them on your own.
This exposure to such diverse artistic disciplines must have had an influence on your creativity. Did it bring several perspectives to the way in which you see the world and reality?
Exactly. I was always drawn by several things and I always kept the horizons of my interests very open. Not to become a better director, but rather as a kind of atavism. My interests are never sated, because I am always uncertain about my attitude towards the actual matter of life and art. Nothing is self-evident to me, I do not see simple truths.
It must be this kind of anxiety that makes your movies so emotional, subjective...
Yes, everything I write is written with emotion. I am not a professional screenwriter capable of developing several plots at the same time and then choosing the best version, after stepping back a certain distance. I always work on just one story, for a whole year, and I'm not capable of writing by separating myself from my life. But even so, the stories are not exact copies of my life: that would be very boring. I want to convey some kind of truth, to transpose my emotions so that the film will be understood all over the world.
Speaking of Lasting, you declared: "I decided to abandon the form that had always been very important to me, in the interest of the story and the truth. When I think about my next movies, I know that I will become more and more radical, and strive for more minimalism”. Is it possible to give up form?
You're pinning down my wording... I don't know if we can abandon it entirely, because form is like the artist’s stamp, his DNA. But it is true that in Lasting, I was very careful to keep the form "clean", so as not to manipulate the spectator’s emotions. I know that I can easily keep the viewer in a state of suspension, in a state of melancholia. Which is why I attempted to make a film that did not have great impacts, and why I simplified it to the limits of its possibilities.
The predominance of form over the story was not blatant in your previous movies Tulips and All That I Love. You always seem to give priority to man and his truth.
Yes, that's true, I make movies that are totally existential. The most important thing for me is to talk about what is within us: fear, desire, love, indifference, passion, nostalgia...
In all your movies, there is also light, hope...
Maybe because I'm on the side of the human being. I may be an idealist, but I think that all evil comes from a type of incapacity, a kind of weakness on the part of human beings. Despite my agnosticism, I have a deep need to search for the truth. It might be proof that I believe in the miracle of life.

Meet the 2013 Sundance Filmmakers #6: Jacek Borcuch Examines the "Human Condition in Micro Scale" in 'Lasting'
"Lasting" director Jacek Borcuch, from Poland, is also a screenwriter, actor, and musician. His past films include "Tulips," "Kallafiorr" and "All That I Love," which also played Sundance and was Poland's Oscar entry in 2011. "My film path is an everlasting search," he told Indiewire, "rooted simply in human existence. "Directing is what enables me to encompass all my strengths, all kinds of arts I mastered."
What It's About: "'Lasting' is an emotional love story about Michał and Karina, a pair of Polish students who meet and fall in love with each other while working summer jobs in Spain. An unexpected nightmare brutally breaks into their carefree time in the heavenly landscape and throws their lives into chaos."
What It's REALLY About: "'Lasting' is a contemporary attempt to look closer at the human condition in micro scale. Through the eyes of young people we observe the disintegration of their seemingly ordered world. The viewer finds himself emotionally attached to the destiny of the protagonists. Not in an imprudent way, simply by co-feeling and desiring to understand them. Together with the protagonists, or actually through them, we ourselves have the opportunity to face our own nature and ask more questions without answers."
Not So Simple As It Seems: "In the narrative layer, the film seems to be simple. Even classical in visual terms. However, this is all just appearances, an idea to build the drama, a hyperrealist form of the story that unfolds in front of the viewers’ eyes. A certain peculiarity is perceptible since the very first takes; something is going on, but we do not know what it is... Information is lacking, so we are left with wild guesses and speculations. As if everything was taking place somewhere on a volcano about to erupt. As a director, I tried to help this drama gain life. What was most important both for me and for the cinematographer was to refrain from enhancing the depicted reality or fuelling this atmosphere. Everything was just supposed to happen."
My Sole Hope: "I would love to make people re-live their youth. Youth is made of dreams and hopes. This is the absolute best there is, both in physical and vital terms. This is a time when everything seems possible. As years go by, people add ideologies to the process of passing away and getting older. They do that so as to be able to better endure their lives. That is why, later, they lie that this is the best time of their lives, that youth is overrated... They’ve gone out of the main current of life, they’ve fallen overboard reality, they can no longer keep up with it or understand it...They’ve already forgotten."

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