The onset of the “Wormholes” series, which I co-developed with Guilherme Maggessi, was a creatively liminal moment bringing together threads from a few of my earlier projects. One of them was my PhD-in-Practice artistic project, a fragmented, fictionalized, immersive, and affective queer reading of several films from the Polish communist cinema history. Andrzej, Ewa, Maks revisits some of the key characters, images, soundscapes, and topical threads of this context, and brings them along to a new setting, largely informed by my artistic-research work with film-based archives and with film-and-media theory, particularly Akira Mizuta Lippit’s description of “ex-cinema” and Jonathan Walley’s “para-cinema,” both of which pay attention to formally experimental modes of cinema film actualizations. Andrzej, Ewa, Maks takes the premise of a gradually crumbling guided tour through film reception, with the voice-over narrator losing its linearity and eventually sinking into the image- and sound-heavy texture of the film’s last minutes, inspired by structural film practices, the influence that will come to the fore in the cinema versions of the filmwork that are part of the “Wormholes” project.