Sixty-year-old Polish performance artist Leon – full name Krzysztof Leon Dziemaszkiewicz –lives his artistic life to the max, immersing himself in intense, flamboyant and physically draining physical performances, often naked, smeared in paint and bedecked with colourful headdresses. But while society might be wary of him at times, he is given forthright support and encouragement by his boyfriend, the iconic fashion designer Manfred Thierry Mugler who understands and believes in him.
Director Wojciech Gostomczyk’s gently non-judgemental and immersive film Leon, world-premiering at Thessaloniki International Documentary Festival, on one hand charts the artistic challenges and doubts that Leon tries to overcome, but also – and perhaps more importantly – is a life-affirming love story between two men who live their lives to challenge convention.
The film opens with footage following the bald head of Leon as he walks along a city street, gradually revealing similar shots of his head at other times as he morphs from ordinary pedestrian into performance artist, eventually detailing a full blown performance on a beach, virtually naked, painted blue and sporting bold make-up and outlandishly ornamental neckwear.
The film balances domestic footage – Leon with his morning ritual of taking pills and tending plants – with his performance art that is clearly exhausting for him as he often, at times, literally crawls along the floor. As Manfred arrives on the scene in a large Mercedes he encourages Leon to climb into the back seat. Back home Manfred tends to his scrapes and minor injuries. “What would you do without your Manfred nurse,” he says with a smile, as the couple then settle down to watch footage of old Mugler fashion shows.
Leon heads to Poland to visit family and friends and discusses contemporary art with his friend and colleague Mariola. To overcome a middle-age crisis and niggling moments of self-doubt (at one moment he texts Manfred saying simply “I suck” which the gentle and supportive Manfred responds to by telling him to come home) Leon decides to work on his last big show which he hopes will prove that he is still a good artist… but whenever things go wrong, he still reaches for alcohol.
Things turn particulary poignant in the closing section. Leon’s performance art event – staged with the help of a dedicated troupe of artists and friends – is well attended, with Manfred at the front recording it all on his phone (always the keen supporter). As the event comes to a close with Leon on the floor and exhausted, Manfred whispers to him, ‘it’s time to go.’
The film goes black for a moment, before cutting to footage of Leon packing his art and belongings in a series of IKEA boxes. Manfred Thierry Mugler died in January 2022 aged 73, with the film closing with footage from his funeral and Leon in tears as he helps carry the coffin. In a closing scene he is filmed alone and sad at a Paris boulevard café bar.
Wojciech Gostomczyk wonderfully manages to balance a film that is both gentle insight into a sometimes tormented and fragile artist as well as being the story of a supportive love affair. The camera is never intrusive despite being with them at vital moments, and allows Leon to examine his life and his art. His performance art is bold and expressive and the film allows space for his ideas to be developed, but it is perhaps at its tender best when Leon and Manfred are together supporting and loving each other.
Poland, 2023, 81mins
Dir/scr: Wojciech Gostomczyk
Production: Studio Metrage, My Way Studio
International sales: The Collaborative
Producers: Wojciech Gostomczyk, Janusz Bogaczyk, Janusz Hetman, Anna Stylińska
Cinematography: Marcin Sauter
Editor: Katarzyna Orzechowska
Music: Marcin Lenarczyk
With: Krzysztof Leon Dziemaszkiewicz, Manfred Thierry Mugler
