British tourist Bethany (Charli xcx) arrives in Warsaw, Poland, with her delightfully boring boyfriend, Rob (Will Madden), who has planned a romantic itinerary, which includes a marriage proposal Bethany is secretly privy to. Rob originally wanted to go to Paris, but Bethany claimed Warsaw, of all places, was more romantic. “In Paris, there are so many expectations for it to be romantic that it just isn’t romantic anymore.” Rob is a nice guy who is attentive and thoughtful, but Bethany isn’t interested in him anymore, which is certainly felt in Charli xcx’s nuanced performance. When the eruption of the nearby Mount Etna leaves them stranded in Warsaw for longer than planned, Bethany seeks out her old friend Nel (Lena Góra), a florist who she first met 16 years ago. After they attend the house party of American artist Claude (Jeremy O. Harris), Bethany leaves with Nel and stops answering Rob’s calls, while Nel ditches a date with Ula (Agata Trzebuchowska) to spend more time with Bethany.
Erupcja, which means “eruption” in Polish, has an additional layer of meaning as Nel and Bethany find that there is a volcanic eruption somewhere in the world whenever they are together, going back to when they first met as teenagers. They believe this is proof that they and their bond are special, giving them permission to erupt in their own lives and fall back into old, destructive patterns of partying all night, doing drugs, and avoiding the people who care about them. It’s unclear whether Nel and Bethany’s relationship has ever been sexual, but there is certainly some undeniable bond between them, an ease felt in each other’s company. Described as a tale of sapphic synchronicity, the pair don’t even share a kiss. Their bond goes deeper as the women share a mutual love for poetry, connecting to something cosmically greater that they both feel part of.
Despite their strong connection, proclivity to blow up their relationships, and the volcanic eruptions, Erupcja is anything but explosive. Much of their hard partying isn’t even shown. Instead, love is examined through a much quieter lens which allows its characters to sit in their uncomfortable feelings even as they try to escape them. The film gives us details about the characters through an omniscient narrator (Jan Lubaczewski), who often shares dreams one of the characters had the night before. It’s an interesting narrative device, but it works, helping to frame the story alongside the block colour transitions between the unofficial sections that divide the film’s events. The narration allows the characters to not say more than they have to. Nel and Bethany don’t need words, they just know each other and feel at home.
It’s great to see Charli xcx strip off her “brat” persona and sink into a role that is subdued. Bethany is a strong but quiet personality. She could persuade you into something without saying much at all. She knows the right words and holds emotion well. You can feel the sense of unrest that sits deeply embedded within her. She loves art and poetry, and seeks a more exciting life and connection, yet she cannot confront Rob so she runs away from him. That poor bastard is left alone wandering around Warsaw like a lost puppy. Góra’s on screen presence is quite mesmerising as she, trying to make a life herself, cannot help but be pulled back into Bethany’s orbit—someone who reappears suddenly after promising to call but not doing so for years. Both actors give vulnerable performances in their yearning, ones you could watch unfold for longer.
Directed by Pete Ohs in a script he co-wrote with the film’s lead stars—Charli xcx, Góra, Harris, and Madden—the dialogue feels natural and conversational, as though improvised during production. Ohs directs with the freedom and intimacy given by a handheld camera, which creates an effortless charm while emulating French New Wave and mumblecore. There’s a spontaneity to his camerawork as it oscillates between gentle and energetic shots. The film is only 71 minutes and therefore doesn’t overstay its welcome, yet scenes linger in the delicacy of the characters’ lives and their concealed interiorities. Each at a crossroads in their lives, they are contemplative, but there is no incessant talking taking up unnecessary space. Ohs lets his characters breathe. By the time the film comes to a close, you are left wondering whether we’re doomed to repeat the same toxic patterns over and over again—or if it’s possible to finally break free.
Erupcja is out in cinemas in the US on 17 April, Canada on 24 April, and in the UK on 5 June.
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