Just like the readers of the literary original, the audience will begin their journey with Kapuscinski in 1975 Luanda, the capital of Angola. The country is in the midst of decolonization efforts, launched after the success of the Carnation Revolution. Portuguese nationals are hurriedly fleeing the more glamorous districts of Luanda. Terrified by the possibility of a full-on attack on the capital, they’re busy packing their belonging into wooden crates. Shops are closing down, law enforcement is gradually disappearing from the streets, heaps of garbage bags are slowly taking over the Angolan capital. Kapuscinski keeps sending daily cables to the Polish Press Agency from the emptying city. In the final months before the declaration of independence, different factions of the Angolan liberation movement were locked in a protracted struggle that would decide who would hold power in the coming republic. After some deliberations, Kapuscinski decides to journey to the front lines of the war. To risk his life in order to be the first journalist in the world to broadcast daily reports on the course of the conflict. On the frontlines, Kapuscinski is working under immense pressure, terror and loneliness a staple of his daily routine. Traveling through the conflict zone resembles a game of Russian roulette: even uttering the wrong greeting at a checkpoint can get him killed. The Angolan Civil War quickly stops being just another war for Kapuscinski to cover. The conflict has a human face – the face of the fierce fighter Carlotta and comendante Farrusco, two of many acquaintances he’s made during his journeys to the frontlines. An internal conflict is raging within the writer – Kapuscinski is unable and unwilling to be simply a passive, objective observer of the events taking place all around him. He feels compassion, sympathy, and has the utmost respect for the people whose stories he wants to tell the world. This leads him to question the role of the war reporter, to question the limits of journalistic impartiality and involvement in the conflict. To tell the true story of Angola, he undergoes a deep change as a human being and is reborn – as a writer. Dynamic animation and action scenes are intertwined in Another Day of Life with documentary sequences, which give the audience a chance to meet the characters 40 years after the events portrayed in the movie. Such an approach introduces additional depth and lends credibility to the world depicted in the animation.

About the Filmmakers

Raúl de la Fuente is an awarded film director and Screenwriter. He has cross the world finding those stories that worth to write, also directing several documentaries, short films, and tv shows in countries like: India, Angola, Laponia, Sierra Leona, Argelia, Mongolia, Etiopía, Venezuela, Perú, Cuba, Bolivia, Guatemala, Ecuador, Polonia, EEUU, Canadá, Qatar, Nueva Caledonia, Haití, Benin, Togo…

By 2016 Raúl de la Fuente was one of the finalist for the 88th edition of the Oscars© Awards for his short film Minerita in the category of Best Documentary Short Subject, the short film won The Goya Award in the same category by the 2014. This film has been a globetroter in terms of festival with 140 participations and with 45 awards under his belt. His debut film (NÖMADAK TX), was premiered in 2006 at Festival Internacional de San Sebastian where he was awarded an honored mention from Confederación Internacional de Salas de Cine de Arte y Ensayo (CICAE) at the same time was the most awarded spanish documentary by 2007 with 17 awards and 150 nominations.

by 2018 Rául de la Fuente premiered a film who mixes animation with realistic images based on Ryszard Kapuscinski book Un día más con vida.


Damian Nenow is a graduate of the National Film School in Lodz, Poland, entered the international animation scene with short films The Aim and The Great Escape. He is best known for his another short – Paths of Hate, which was screened at over 90 film festivals and won 25 awards and honors. The production shows Nenow’s exceptional talent for capturing the sense of movement and his passion for creating grounded, often history-based, stories. Both of these features are visible in many of his projects.

From the deeply moving animated documentary City of Ruins, through the socially important commercial Hunger Is a Tyrant, up to the exciting cinematics for Watch Dogs 2, Skull & Bones and Crossfire HD video games, Nenow’s works offer a unique look that allows to rediscover subjects in completely new way. Even his short forms, such as commercials for Orange or Millenium Bank, feature unique visual or narrative elements.

The best is yet to come for Damian, especially after the great world-wide success of Another Day Of Life. The hybrid of animation and documentary, codirected by Damian Nenow and Raul De La Fuente, premiered at Festival De Cannes, where it aroused the applause of film critics and the viewers. It also opened the door to the international career of the film – Another Day Of Life was shown at the most important film festivals all over the world and entered the cinemas in numerous countries across the globe. The great year of successes has the wonderful happy end – the movie was awarded with European Film Award for the Best Animated Feature Film. 2019 started with the next, renowned distinction – Goya Award for The Best Animated Film.