The Soup offers reflection on social and political attitudes in creative circles. The protagonists of the film are artists who have dinner together and declare their willingness to join a revolution – renovation – which is taking place next door. Despite initial readiness to support the political coup, the characters are afraid of getting involved, standing up from the table and leaving their safe space. They become concerned about the light flickering on and off more and more often and listen to the growing roar of a drill, through which the noise of a shouting crowd breaks every now and again. We watch their discussion of safe methods of participating in a revolution, interrupted by small intrusions of reality from behind the wall, as well as their final choice to focus on their own affairs, summed up by one of the artists sitting at the table: ‘I don’t believe in renovation anymore.’ The film, which follows the convention of the Theatre of the Absurd and resembles television theatre, explores the social position and dilemmas of artists at a time of political transformation.
The Soup also refers to the action Exit from 1989 – a feast organised in a flat next to the Wschodnia Gallery in Łódź, which could be watched by viewers after drilling a hole in the wall.