I Want More (2026) by Damian Matyasik

Marcin appears confident and in love. Behind the alpha-male surface is a lost boy with no professional prospects and a relationship about to fracture. When Hania’s father Zbyszek is diagnosed with SMA — a degenerative condition requiring a treatment costing six million złoty — Marcin makes a desperate decision. With his gaming friends, he begins impersonating relatives and defrauding Polish bank account holders, starting small, scaling fast. What begins as love-driven desperation becomes an addiction to agency, adrenaline, and money. Based on real events: the biggest cybercrime in Polish history, in which perpetrators extorted over 400 million złoty. Directed, written, produced, and edited by Damian Matyasik. Starring Maciej Musiałowski (one of Poland’s most in-demand young actors) and Julia Wieniawa-Narkiewicz. Distributed by Kino Świat. Polish theatrical January 30, 2026.

Matyasik — director, writer, producer, and editor — arrives at this feature with 56 festival awards for his short films, including Mom Dies Saturday (2022, 36 awards internationally). He spent years in game design before cinema, and describes that period as a training ground for storytelling under pressure. The film is built on one of the most widely known and personally felt criminal cases in recent Polish history — the SMS fraud wave that cost hundreds of thousands of Polish citizens real money — giving it immediate domestic resonance. Maciej Musiałowski is one of Poland’s fastest-rising young actors; Julia Wieniawa-Narkiewicz is one of the country’s most prominent celebrities across film, music, and social media. Both perform the film’s original soundtrack song together, released ahead of the theatrical premiere.

• The real-events foundation — over 400 million złoty extorted in the largest cybercrime in Polish history — gives the film immediate domestic recognition for any Polish viewer who received a suspicious “blik” request from a fake family member.

• The gaming community entry point — Marcin and his friends are League of Legends players whose digital skill set translates directly into the cybercrime — gives the film a youth audience identification that conventional crime drama rarely achieves.

• The moral architecture is the film’s most commercially interesting structural choice: Marcin starts with a genuinely sympathetic motivation (saving Zbyszek’s life) and the film tracks the precise moment when the goal stops mattering and the addiction takes over.

• Matyasik’s multi-hyphenate role — writing, directing, producing, and editing the film himself — mirrors the control-and-agency theme at the heart of the character study.

• Wieniawa-Narkiewicz’s substantial social media following gives the film a marketing amplification that conventional Polish theatrical releases cannot access — she is one of the country’s most followed celebrities across platforms.

• The blik fraud premise generates immediate recognition among Polish viewers who have personally received or know someone affected by the “I’m your relative, transfer money urgently” scam — a criminal methodology that cost Polish society hundreds of millions.

• Interia Film — important and timely topic; stiff and predictable dialogue; rescued by Musiałowski’s screen magnetism and pace; Sebastian Dela steals every scene from the second tier; Wieniawa a positive surprise, acquits herself well without doing more than required.

• PPE.pl — solid casting level; Musiałowski holds dramatic tension especially in scenes with his pathological mother; Dela the most convincing as the hacker; opening too slow; the blik fraud premise is timely and important; Wieniawa fulfils her role without embarrassment.

• Filmweb — neon aesthetic, good cast names, highly relevant subject; disappointing execution; the story could have been told a dozen different ways; too much directness, treats the viewer as unable to deduce; the cast does everything they can with material that lets them down.

• Filmweb user note: suspicious wave of 10/10 accounts created in late January/early February suggests organised promotional activity. IMDb 5.9 from 46 viewers.

• Polish theatrical January 30, 2026. Kino Świat distribution. Budget $2M (estimated). Worldwide gross $14,298. Available on Amazon Prime Video.

• Damian Matyasik — game designer, short filmmaker (Mom Dies Saturday, Corpse in the Basement), 56 festival awards — writes, directs, produces, and edits his first feature. His game design background shapes the film’s focus on escalating stakes and the psychology of digital power.

• Maciej Musiałowski (Marcin) — one of Poland’s most consistently praised young actors — delivers the film’s most secure performance element: screen magnetism and dramatic tension that every reviewer cited as the film’s primary reason to watch.

• Julia Wieniawa-Narkiewicz (Hania) — actress, singer, social media personality — performs better than critics anticipated; a character torn between family loyalty, an emerging music career, and a partner whose addiction is replacing his love.

• Sebastian Dela (supporting) — Zbyszek Cybulski Award nominee — cited by multiple reviewers as the performance that steals every scene he’s in despite playing second tier.

• Przemysław Bluszcz (Zbyszek) — the dying father whose medical crisis initiates the entire chain of events.

The blik fraud premise is one of Polish cinema’s most immediately resonant real-events subjects — personally felt by hundreds of thousands of viewers. The casting delivers exactly the commercial appeal the poster promises. The script’s failure to match the cast’s capability is the film’s most consistent and most honest critical note. Matyasik’s debut feature confirms his formal instincts without yet confirming his screenplay discipline.

I Want More belongs to the European youth crime thriller tradition — films in which young people with genuine initial motivations are consumed by the criminal world they enter, discovering that the goal was always secondary to the sensation. The specific Polish contribution is the blik fraud as subject matter — a criminal methodology so widely experienced domestically that the film functions simultaneously as crime thriller and public awareness document. The Robin Hood starting point (save a dying man) corrupting into addiction (power, money, recognition) is the film’s most commercially reliable narrative architecture.

• The SMS blik fraud is one of Poland’s most socially impactful and widely experienced criminal phenomena — a crime many viewers have personally encountered, giving the film documentary-level subject recognition within its fictional framework.

• The gaming community starting point gives the film a youth demographic entry that conventional crime thriller framing cannot achieve — Marcin’s digital competence is both his criminal tool and his identity.

• The moral drift from compassionate motivation to pure addiction is the film’s most commercially interesting structural argument — the moment the goal takes a back seat is the story’s real turning point.

• Matyasik’s real-events grounding — the biggest cybercrime in Polish history, 400 million złoty extorted — gives the film’s escalation a specific and documented weight.

The Robin Hood starting point has been the crime thriller’s most reliable justification since Michael Mann — what distinguishes I Want More is that the real-events foundation removes the moral alibi the fictional version might provide.

• Polish mainstream crime cinema has expanded significantly in the streaming era — Canal+ Poland, Netflix Poland, and theatrical distributors like Kino Świat have developed a domestic audience for commercially positioned Polish thrillers.

• The blik fraud is a subject with saturation-level public awareness in Poland — every newspaper has covered it, police campaigns have addressed it, and millions of Polish families have personal connection to the scam.

• Musiałowski’s rising profile — confirmed across multiple projects — gives the film a commercial actor-led positioning that Polish arthouse and mid-budget productions rarely access.

• The film connects to a broader European cultural anxiety about young people with digital competence and limited conventional economic opportunity — the criminal pathway as the only route to agency and recognition.

• The SMA treatment cost as initiating premise connects the film to Poland’s well-publicised medical crowdfunding culture — a real social phenomenon where families raise millions for rare disease treatment publicly.

• The addiction-to-digital-power narrative is one of contemporary crime cinema’s most culturally specific arguments — the sensation of controlling other people’s money remotely is the film’s most precise psychological observation.

• Wieniawa’s multi-platform celebrity status — film, music, social media — gives the film a marketing reach that no conventional theatrical campaign could replicate at this budget level.

• The League of Legends community entry point gives the film a gaming audience that rarely engages with Polish mainstream cinema — a specific demographic the film’s gaming-culture framing is designed to capture.

• Amazon Prime Video availability gives the film an immediate streaming discovery window that extends beyond the Polish theatrical release.

The core audience is 18–40 — Polish young adults who recognise the blik fraud from personal experience, crime thriller viewers who follow Musiałowski’s career, and the gaming community that identifies with the League of Legends starting point. Wieniawa’s fanbase provides a secondary discovery demographic. The film’s critical division — between audiences who find Musiałowski sufficient justification and critics who find the script insufficient — accurately describes the commercial reality: it is a film that audiences enjoy more than critics respect.

I Want More finds its genre positioning through cultural subject relevance and star casting rather than screenplay quality. The blik fraud’s personal resonance with Polish audiences gives the film a built-in identification that compensates for the script’s limitations. The gaming community framing is the film’s most formally original contribution to the Polish crime thriller tradition.

Matyasik delivers a debut feature of genuine thematic ambition — the biggest cybercrime in Polish history, a morally complex protagonist, a Robin Hood premise that corrupts itself — that is consistently let down by a screenplay treating its audience as unable to follow subtext. Musiałowski saves more scenes than any script should require a single actor to save. The film is more commercially successful than critically deserved and more culturally relevant than its execution warrants.

Works best for viewers who engage with crime thriller through actor performance rather than screenplay precision — Musiałowski’s magnetism and Dela’s scene-stealing are sufficient justification for the runtime. Less suited for viewers expecting the screenplay ambition to match the thematic premise.

The film’s most precise observation — that Marcin’s addiction to power and recognition arrives before Zbyszek’s treatment is secured — is its most commercially interesting argument. The motivation stops being the point. The sensation becomes the point. That is also the most accurate description of how real-world cybercriminals describe their escalation.

The blik fraud’s saturation-level public awareness in Poland gives I Want More a documentary-level subject recognition within its fictional framework — every viewer who has received a “I’m your cousin, transfer money urgently” message will recognise the criminal methodology the film depicts. That recognition is the film’s most reliable commercial asset.

The real-events foundation — 400 million złoty extorted, millions of Polish citizens defrauded — gives the film a social weight that transcends its entertainment function. Matyasik explicitly states that the main plot aligns completely with what happened. For the film’s victims, the fiction is personal history.

Musiałowski’s Marcin — screen magnetism, dramatic tension, particularly in confrontations with his pathological mother — is the film’s consistent critical consensus and its primary commercial justification. Dela’s supporting hacker steals scenes with the precise conviction that every reviewer cited separately. Wieniawa acquits herself better than anticipated without exceeding the material’s demands.

I Want More will be remembered as the debut that confirmed Musiałowski as one of Poland’s most bankable young actors — and as the feature that demonstrated Matyasik’s genuine thematic ambition and formal multi-hyphenate discipline without yet delivering the screenplay quality those instincts deserve. The second feature will be the confirmation or the correction.

• No awards. Polish theatrical January 30, 2026. Kino Świat distribution. Worldwide gross $14,298. Amazon Prime Video.

The real-events subject matter provided the cultural relevance. Musiałowski provided the commercial justification. The script provided the limitation. All three are accurate.

I Want More is the Polish cybercrime film where the most interesting moment is when Marcin stops caring about saving Zbyszek — and neither the character nor the screenplay fully acknowledges it.

The 400 million złoty was real. The victims were real. The film arrives later than the crime — but still earlier than the reckoning.

The blik fraud deserved a film — this one delivers the cultural recognition without the formal rigour to match it. Musiałowski is the film’s most durable argument for its own existence. Matyasik’s second feature, with a script equal to his instincts, will be the one to watch.

• Movie themes: Criminal escalation as addiction to agency and power, digital fraud and its human cost on both sides, the Robin Hood motivation that corrupts itself, youth unemployment and the criminal pathway as substitute for legitimate recognition, and the specific psychology of controlling other people’s money remotely.

• Movie director: Damian Matyasik — game designer, short filmmaker (Mom Dies Saturday, 56 career festival awards) — writes, directs, produces, and edits his feature debut. His game design background informs his focus on escalating stakes and psychological pressure; his screenplay discipline doesn’t yet match his thematic instincts.

• Top casting: Musiałowski carries the film’s dramatic architecture with screen magnetism that exceeds the material. Dela steals every scene in a supporting role that every reviewer cited separately. Wieniawa acquits herself credibly without exceeding what the script demands.

• Awards and recognition: No awards. Polish theatrical January 30, 2026. Kino Świat distribution. Worldwide gross $14,298. Amazon Prime Video.

• Why to watch: Poland’s biggest cybercrime case — 400 million złoty extorted via blik fraud — with Musiałowski’s most commercially confident performance and a moral architecture that tracks precisely when a compassionate justification becomes an addiction to power.

• Key success factors: Musiałowski’s screen magnetism plus the blik fraud’s saturation-level domestic recognition plus Wieniawa’s celebrity discovery reach plus the real-events foundation plus Matyasik’s multi-hyphenate production discipline — a combination that gives a debut feature commercial positioning above its critical standing.

• Where to watch: Polish theatrical from January 30, 2026 via Kino Świat. Amazon Prime Video.

I Want More confirms that the subject was worth making and that Musiałowski was the right choice to carry it. The screenplay’s failure to match either is the film’s defining limitation and Matyasik’s most important lesson going forward.