Na-ewu ewu Site na Poland

In the summer of 2021, the north-eastern European migration route was reactivated, prompting the European Union to adopt a harsh stance against migration, aligning with right-wing and conservative ideologies. The Polish-Belarusian border was heavily militarized, yet migrants continue to attempt crossings, facing severe repression from authorities. Meanwhile, the war in Ukraine since February 2022 has led to millions fleeing to Poland, with many finding temporary refuge in local homes. The film features members of the anarchist No Border Team, who discuss the ongoing crisis, state racism, and their efforts to support migrants at both the Polish-Belarusian and Polish-Ukrainian borders.

A film story about a group of musicians from Poland and Sweden who, led by Janusz Prusinowski, met at the end of 2015 to realize a year-long Polish-Swedish musical project. The starting point was joint work on repertoire, musical conversation, searching for answers, similar motifs and musical themes, and an attempt to create material for a joint album.

A visual experiment composed from simultaneous displays. Collage-type parallel of images becomes a sign of modernity, based on the chaos of multiplicity and excess. The collapse of linear forms leads to a complete degradation of borders, while the exhaustion of homogenous vision of the world – to the aesthetic eclecticism.

An outstanding artist talks about his painting. This moving confession leads from the emotions which moved a child years ago, to an artistic imperative realized several decades later. The extermination of Jewish Działoszyce has been preserved in memory and in art. The film is a reflection on the tragedy of a terrible time.

Joanna, brought up by her grandmother in the spirit of Orthodoxy, finished her studies in London and returned to a small town in Podlasie, the place of her birth. She knew she was doomed to an "intellectual desert" here, but she also felt she had a role to play. What role? She calls it a "search for truth". She researches the history of the borderland, her town and the people who once lived here, and these are often dramatic and controversial issues. That is why it is not easy for her. Attempts to get a job at the local school or community center ended in failure. She teaches young people, but she does it as a volunteer. She lives on the borderline between two worlds - the real one where she is still searching for her identity and clashes with the stuffy atmosphere of a small town and the unreal one which no longer exists - the Jews of Krynki whose memory she restores thanks to her voluntary work with the youth of Krynki.

Working the boggy meadows at the river Biebrza are the titular last mowers, passing on the tradition of mowing the grass by hand to a sparse handful of successors. Here, long contemplative shots of unique wildlife make the human order merge with the order of nature.

A story about paintings and drawings created in the Auschwitz concentration camp. The film is a search for an answer to why so many people were risking their lives just to leave on paper a trace of what the morning appeal looked like.

Karolina and Klaudia are trying to rebuild their own family relations, something that adults have failed to do for years. However, achieving this turns out to be much more difficult than they could have imagined.

Ludwik Flaszen, co-founder of the Laboratory Theatre, comes to Wrocław. He follows in the footsteps of Jerzy Grotowski and talks about his friendship and cooperation with this outstanding reformer of 20th century theatre. Ludwik Flaszen's stories are accompanied in the film by excerpts from recordings of performances, TV programmes and documentaries or hitherto unpublished archival photos, as well as by an extensively illustrated historical context.

The documentary explores the Labor Day at the Exhibition Industry in Lodz in 1912.

he political transformation in the areas which used to be state-owned farms in the north of the country brought unemployment and a lack of prospects. The plight of these areas has caused their residents to lose control of their lives and become marooned. They look indifferently at the crowds of tourists who come to visit the mementos of the pre-war Prussian magnates of these lands. The most popular is the pyramid-shaped tomb built by the Farenheit family. An opportunity missed by parents was noticed by children. Wanting to improve the lot of their families, they decided to take advantage of the historical legacy and began hiring themselves out as tourist guides. Thanks to this work, they not only support family budgets and gain funds for their own pleasures, but also learn history and foreign languages.

A memorizing documentary, is inspired by the documentary films - the specific genera that is commonly used to mythologize the heroes of mass culture in order to emphesize their celebrity status.

The visualisation simulating the camera movement guides the viewer through minimalist interiors featuring paintings that were also on display at the gallery. Then, we witness a change into an abstract space, filled with shapes generated and controlled by crowd simulation software.

A tribute to a Polish jazz drummer, Jacek Olter (1971-2001). Olter played in many bands connected to so called 'yass' scene and was considered one of the best young talents in the genre. Though presently not as blossoming as in previous decade, Yass (a term coined in the 1980s) was a musical amalgam of various styles, with strong jazz/improv roots and influenced by punk rock, folk, electronica.

The documentary presents the figure of doctor Zygmunt Klukowski, who was not only a great doctor, but also a social activist, writer, soldier and regional historian. His books describing the years of Nazi occupation of the Zamość region are an invaluable testimony of the horror of those days. After the war Klukowski was arrested for his activity in the underground movement, but was eventually granted amnesty and appreciated by the public.

A short doc on techniques that painters have used to achieve 3D depth of field effects.

The extended television version of the film 83 Zlota Street, offering an expanded look at the various colourful characters introduced there.

Artur Zmijewski, a Polish artist born in 1966, explores social norms through films and photographs by creating unusual situations and documenting participants’ reactions. His work often addresses long-term trauma from historical and sociopolitical events, focusing on marginalized groups and popular beliefs. In “Sculpture Plein-air. Swiecie 2009,” Zmijewski organized workshops where Polish artists collaborated with steel workers in Swiecie to create public sculptures, inspired by 1960s collaborations in Elblag. This project questions the possibility of overcoming current social and political divides.

Wilderness in the Bieszczady mountains, with the nearest shop eight kilometers away. These are the conditions in which Zbyszek who burns charcoal decided to live. He treats hard work as a kind of atonement for his past deeds. Three tar makers who worked with him, including his son, are already dead. The man sees a link between their deaths and his deeds. His next companion is black Gustaw whose dream is to study medicine. Will he turn out to be the title fourth man?

An analysis of the space of the Stadium of the Decade. Formerly the site of the most important sporting events and state celebrations, since 1989 it has become one of the largest markets. The director, presenting one day in the life of the Fair Europe, shows his multi-level construction and the hierarchy of sellers, often coinciding with the topographic layout of the stadium and national affiliation - mainly Polish or Vietnamese, though there are also other visitors from outside the eastern border. The film creates a mosaic of stories told by traffickers, policemen and local criminals. Their accounts show the realities of stadium life - the day of work begins at night, and besides trade, it is filled with numerous thefts, frauds and ethnic tensions. The film also uses archival material from the Documentary and Feature Film Studios, showing the life of the stadium in PRL.