The protagonist of the film by Tomasz Jurkiewicz is a retired miner, local artist and writer Wiesław Konieczny. One day, when he was about to go to work in the mine, he heard a voice telling him to stay at home. He listened to this voice and thanks to it, he is still alive. Because, on that day, a tragic accident occurred at the mine and the person working at his post was killed. The mysterious voice not only saved his life, but also told him to start writing.
From that point on, Wiesław notes down in his books various supernatural phenomena which happened to his neighbours, acquaintances and people he encounters. He conducts numerous interviews and busily writes down the legends he has heard, mysterious events, meetings with ghosts. As he himself claims, he wrote down these stories in order to save them for posterity, and he will not rest until he writes down all of them. This is, therefore, a kind of a mission, which he carries out together with his supportive wife. In the film, we see him during his work on one of his books, entitled "Borderline Miracles." We accompany him by gathering material, hearing sometimes funny, and sometimes very tragic stories of his interlocutors. All of them are united by the conviction and deep faith in the metaphysical character of their experiences. Apart from Wiesław, two other interesting protagonists appear in the film: Piotr, the founder of the first team researching the paranormal phenomena on the territory of Poland, and Maks, a healer. Each of them is watched by the camera by their peculiar work.
The film "Borderline Miracles" is an extremely interesting portrait of people functioning between the real and mystical world, between the prose of everyday life and the mysterious extrasensory space. It is also the image of people, immersed in the immense passion. Regardless of whether it concerns creative work, healing, tracking ghosts, it is something which completes their lives, which makes them interesting and full of sense. Jurkiewicz does not judge the views or interests of his protagonists. It is also impossible to guess what is his attitude towards this subject matter. By showing the protagonists in an extremely warm-hearted, unprejudiced way, but at the same time keeping some analytic distance, he allows the viewers to make their own judgements. The moments, when Wiesław, with tension in his voice, dictates his notes to his wife, makes the stories which we had already heard before take on a totally different meaning. They cease to be a document, a report by the witnesses or participants of the event, and they become the plot of a literary horror, full of dread.