TRAVEL ESSENTIALS. A Multilayered Study of Trauma [REVIEW]

Kamila Tarabura, the creator of the widely discussed and acclaimed “Absolute Beginners” for Netflix, spent many years working on her feature-length directorial debut. The subject matter she tackles in “Travel Essentials” is a delicate issue, still relatively new to Polish filmmakers. The protagonist of this film, which is competing at this year’s Gdynia Film Festival, is a deeply traumatized victim of sexual abuse. She decides to reveal the crimes committed by her father only after his death, through a book she authors. “Travel Essentials” delves into trauma and the silence surrounding it but never forces us to take sides or adopt a specific perspective. Instead, it presents a complex narrative of long-hidden sexual crimes, illustrating the uncertainty, guesses, and testimonies of various parties. The film also portrays a victim far removed from the stereotypical image of someone permanently scarred by an indelible stigma.

“Travel Essentials” is based on a true story described in not one, but two books. The primary source is “Kato-Tata. Not-a-Diary”, written by Halszka Opfer, in which she recounts her childhood experiences of sexual abuse at the hands of her father. Another inspiration for Kamila Tarabura was a report by Katarzyna Surmiak-Domańska, in which Opfer confides both her childhood trauma and the emotions she experienced after publishing her memoir and revealing her true identity (Opfer—German for “victim”—is a pseudonym she used when writing her book).

Tarabura offers a slightly different take on these women. The film’s protagonist, Roksana (brilliantly played by Katarzyna Warnke), reconnects after many years with a childhood friend, Ada Rosińska (played by Dagmara Domińczyk, known from “Succession” and “Priscilla“), a war correspondent living in Hamburg. Roksana dedicates her memoir to Ada and leaves her phone number on a special copy. However, their first meeting is marked by awkwardness—having not spoken for decades, their conversation is stilted, and it’s not immediately clear why Roksana is so keen on a coffee, especially since Ada is heavily pregnant. As time passes, we learn Roksana’s motivation—she wants Ada to accompany her on a journey back to her hometown to confront painful memories and, most importantly, understand why her own mother (Małgorzata Hajewska-Krzysztofik) still refuses to believe her version of events and defends her deceased husband. From Germany, we move to Silesia, tracing both the path of young Roksana, abused by her father, and her older, mature self who defies the expectations of others and breaks the mold of the stereotypical victim.

In “Travel Essentials”, nothing is certain. Each character presents a different point of view, interpreting Roksana’s childhood events in their own way. At times, even Roksana herself becomes a puzzle due to her ambiguous behavior. Warnke’s character enjoys short skirts, partying until dawn, openly cheats on her husband, and is unapologetic about her sharp tongue. Tarabura refrains from passing judgment, instead offering an impartial analysis of how childhood trauma has influenced Roksana’s sexuality, confidence, and relationships with men. In contrast, Domińczyk’s character is more reserved and cautious in her judgments, unaligned with either side of the narrative. Despite the impending prospect of motherhood, she is relentless in her search for the truth about Roksana’s father, especially after Roksana accuses her of knowing the truth but choosing not to speak out.

The Warnke-Domińczyk duo is uneven, much like the film itself. While Roksana often dominates the screen, Domińczyk’s performance sometimes feels subdued and too static, making it difficult to gauge her character’s true intentions. The screenplay of “Travel Essentials” doesn’t stand out for its impactful dialogues or memorable confrontations; at times, it feels more like a student film, where individual details matter less than the overall message. In Tarabura’s film, the moments in between carry the most weight—the gripping silence where we expect a scream, or the coldness when all we need is a touch of empathy toward Roksana. The character expresses her frustration and wounds through erratic and sometimes extreme behavior, often skirting the boundaries of good taste and rationality. Given the ostracism she faces from her pragmatic mother, who blindly idolizes her late husband, it’s hard to blame her. The final scene is especially chilling, as Hajewska-Krzysztofik’s character makes it clear that despite her daughter’s book, media attention, and emotional breakdown, she would still defend her husband if he were alive.

“Travel Essentials” is an excellent starting point for discussing the still-silent issue of young girls’ sexual abuse in Poland. Once again, Kamila Tarabura explores a topic rarely addressed in the public discourse, demonstrating her readiness as a director and openness to the needs of new feminist cinema. Her impartial and observant approach to each character allows the audience to analyze, observe, and come to terms with the painful process of seeking truth and emotional stability for victims. This is a thoughtful, attentive, and subtle film that asks important questions while avoiding definitive answers.