Discoveries from Poland World Cinema

Two friends are preparing to film a movie. One friend has a secret. A good thing in wrong hands.

A short film impression made using the sand animation technique.

​"Podróże uroczystości i polowania w Spale i Białowieży" (1897), directed by Bolesław Matuszewski, is an early Polish documentary film capturing the ceremonial welcome and hunting activities of Tsar Nicholas II in the Polish regions of Spała and Białowieża. Produced by Paryska Fotografia Lux-Sigismond et Comp., the film provides a rare glimpse into the imperial hunting traditions of the late 19th century.​

A group of people arrives for a mass, but not everyone will be able to leave the cathedral.

Details and life of Pomorska street in Bydgoszcz

"Zalana Dolina" is a documentary that takes us through the outcome, revealing the history of the construction of one of the dams in Poland - the dam in Solina. It is a story about a great engineering undertaking, but above all about the people whose fates irreversibly affect this investment.

For eight years, Robert Kowalski documented the Smolensk monthly commemorations, which unexpectedly became a forum for direct meetings between the then state authorities and citizens. The laying of wreaths and street prayers by those in power were protected by snipers, anti-terrorist units, the SOP (Government Protection Bureau) and mounted police. Jarosław Kaczyński's antagonists were people associated in small groups or even acting alone. On the one hand, we have a real human tragedy here, and on the other, a parallel reality of political marketing. Over the years, the nature of the titular rituals has gradually changed: from solemn rituals serving to consolidate power to grotesque combinations after its loss.

A choice... Does it even exist? And if it does, what should one do with it?

See the Sphinx, Ancient Rome and the Eiffel Tower – all in one day!

Martyna, Oliwka, Kordian and Wiktor were patients of Polish psychiatric hospitals as children. As they struggle with their illnesses, they and their loved ones confront the heartless system of child psychiatry.

To what extend can our live be planned? Do we ever let the coincidence influence our plans? “Ars moriendi” seeks to answer these questions. The main protagonist’s struggles with the surrounding reality are performed in the context of the Art of Dying – a medieval manual on the procedures of reaching the salvation through “dignified” death. All set in quite austere, cardboard scenery.

In abstract space, every movement leaves behind a visible shape. The trajectory leads precisely from point A to point B, marking every tiny shift. Over time, the accumulated traces form constellations that shimmer with a multitude of colors and shapes. Reality splits apart, and colorful spots vibrate with increasing frequency. The construction is a story of a hidden, parallel narrative.

The man struggles with basic financial problems, and his young son suffers from diabetes. As refugees leaving a closed center, they seek happiness or simply a peaceful place to live in Warsaw. They find an abandoned lot where, it seems, they can take up residence in a trailer—a temporary home. However, their presence provokes the owners' resentment, and the conflict with their Polish neighbors quickly escalates.