When protests broke out in Communist Poland in late 1970, a crisis team gathered in Warsaw. Soon after the militia made use of their batons. Shots were fired. Through archival recordings and animations, viewers are able to observe various power mechanisms. The film “1970” is a story about a rebellion but told from the perspective of the oppressors.
An artistic commune is working on a film about Rosa Luxemburg, but the mysterious Director disappears as they set out to start filming.
Although the crew are fascinated by the Director, they also loathe him. The question is – where has he gone and who really is the man, who has so strongly influenced the life of this community?
The dynamics of relationships between people living in an artistic and emotional symbiosis turns out to be equally explosive and toxic. The film was inspired by an artistic group led by Rainer Werner Fassbinder.
Krystian Lupa – a controversial and probably the most outstanding living Polish theater director of internationally recognized plays. His accolades include the Europe Theater Prize, the Nestroy-Theaterpreis, he has also been awarded with the French Order of Arts and Letters.
“Let’s try to jump into the well” is a road movie that has only one location – the stage. Whether it presents a road to failure or success is irrelevant. The audience can watch the rehearsals for Kafka’s “The Trial”. They can observe the creative process – often ambiguous, sometimes incomprehensible. A process we have to judge for ourselves.
Lupa invites his actors to jump with him “into a well”, at the bottom of which no revelation awaits.
An extraordinary portrait of one of the greatest contemporary theater artists – Krystian Lupa. It would seem at first innocent, and even an absurd quarrel recorded during one of the rehearsals, turns into almost an hour of conflict between the director and the actor. Through the emotions revealed in this scene, we can look not only at the director’s methodology, but also reach universal truths about the essence of creation, about the interweaving of life and art, about the struggle with weaknesses, about how much we have to sacrifice to get to the truth, talk about the deepest, most important aspects of human existence. We are watching a multi-level, ambiguous performance, which is created in parallel with the spectacle intended for viewers. Who knows which one is truer …
Controlled conversations, recording with hidden cameras, dirty records of interrogations and recruitment attempts – all of these materials are employed to portray the monitored life in Poland under communism. Sometimes grotesque, this picture is underpinned by horror, escalating intuitively with every minute. Before us, there is a terrifying communist panopticon which keeps spying on and recording itself.
A seemingly normal afternoon in the city gets disrupted as passers-by are temporarily unhinged from their daily business. A man lying on the pavement becomes a problem not only for the local tenants, but also medical services and the police.
Poland, 1982, the politically heated days of communist martial law. Two coal miner brothers react differently to the oppressive police state. While Tadek (Tomasz Schuchardt) prefers to retreat into neutrality, Janek (Stanisław Linowski) chooses active engagement in the democratic underground. When Janek asks Tadek to store some anti-government leaflets on the second anniversary of Solidarity’s 1980 strikes, he triggers a spiral of events that will have everyone’s allegiences and characters severely tested.
“The Polish thing” is a 10-episode program about the most important achievements of national design. It was prepared for the centenary of regaining independence by Poland. “The Polish thing” presents usable items, characteristic for a given decade, reconstructs the history of their creation, shows functions in space and presents creators and designers. It is a story about the recent history of Poland, a sentimental and fascinating journey presented in a modern form.
The residents of a village near Opole are celebrating Easter Sunday. People as well as horses have gathered near the church. It is a traditional component of Easter celebrations, which include prayers, a horse ride around the households nearby and fervent singing under the influence of alcohol. Enigmatic editing and black and white photographs reflect the dignified atmosphere of the holiday in which the sacred is combined with the profane in a bizarre chase. All this happens under the patronage of the figurine of Resurrected Christ. The holiday of Krzyżoki and its celebrations make a typical southern Polish tradition.
A pagan custom takes place alongside the traditional Easter Sunday celebrations in the Polish village of Sternalice. Rough-looking men set aside their work tools, saddle wild horses, and set off on a pilgrimage, filled with humility before God. The documentary’s visual and aural cacophony captures the ancient tradition, creating a stunning visual myth.