Living a solitary life in a world without light or hope, the central character is engrossed in the pursuit of his lost past. The cycle he fell into after losing everything is the only one he knows. It is also a personal prison he can no longer free himself from.
Olaf is 25 years old and lives with his mom and grandmother in a tenement house in the Kazimierz district in Krakow. Their home is actually quite dilapidated. Yet the young man dreams that the house in Brzozowa Street is the centre of the universe. The unique narrative is enhanced by a surreal impression of living in an abandoned house. Olaf notices metaphysical consequences of living in the vicinity of a square shaped like the “eye of god”: “There are moments when my mind transcends time and space” he says.
The eponymous number shows the difference between the age of both protagonists of Emilia Śniegoska's documentary. A 19-year-old German girl visits 91-year-old Zofia, a survivor of the Auschwitz concentration camp. The relation between the women is ambiguous – we may only guess what is more important there – whether it is curiosity (for a young German it is one of the last chances to meet an eyewitness of the cruel history), or the need to be close to a fellow human being.
Polish artist Artur Zmijewski asked a group of visually impaired people to paint the world as they see it. Some of the volunteers were congenitally disabled; others became blind in their lifetime. In the film they draw self-portraits and landscapes, occasionally asking the artist for instructions or giving verbal explanation for their decisions. Their paintings are clumsy and abstract. It is however not the resulting works but the process of making them that is at the core of the film.
30 Sound Situations is a performance which maps the acoustic properties of numerous divergent environments. In each situation, the artist stands in front of the camera (at various distances) and claps two pieces of wood against one another with sweeping gestures. The resulting sounds relate directly to the presented spaces, including: classroom, library, staircase, woodshop, backyard, and park, among others. Waśko taps into various sound effects in order to examine the potential for creating a new representation of space in film.
First piece of material documentation of Neurobot has been created in the project Normal Subjects, which centered on the futility of brain-mapping procedures and long-forsaken science of phrenology, as opposed to "normal" daily postures and routines by various subjects shown in 3-minute video loops, accompanied by 3-minute compositions.
Despite the increase in Polish people’s awareness when it comes to sexually transmitted diseases (STD), including HIV/AIDS, they are still a taboo subject, a substitute topic, an unsaid one. This way, the number of people exposed to virus transmission increases. Silence is not the solution. The story depicted in the film revolves around the presence of HIV/AIDS in Poland. It deliberates over tolerance and social attitude towards this problem, over openness and eventually anxiety. People living with the virus and those who live in ignorance saying “But that doesn’t apply to me” both fall victim’s to this anxiety.
A historical documentation of a public manifestation at Plac DEfilad in Warsaw, on October 24th 1956, where Wladyslaw Gomolka, the new First Secretary of the Polish United Worker's Party, was making a speech to an audience of more than four hundred thousand people. Gomolka's election was not approved by Khrustchev and sparked hope for new socialism, with "human face".
A documentary with traces of a feature film, about an altruistic doctor from Gorice village. Despite having a modern health centre at his disposal, he struggles with people's distrust and backwardness. "I knew that they are hiding the sick in their cottages just now. Hiding them from me, from a doctor taking sick children to hospital by force and with the help of the Citizen's Militia officers".
Human skin is a leather cover for the interior. We will leave our covers just like abandoned coats in wardrobe.
Colorful impression for the youngest spectators explaining the differences between the circle and the ball, and showing the possibility of turning the circle into an ellipse.
Children's animation short by Ryszard Antoniszczak.
Bolek and Lolek repeat the legendary shot to an apple. Bolek places an apple on Lolek's head and shoots a crossbow.
Experimental animation by Janek Koza
Experimental animation by Janek Koza
Musical based on SIKSA's album is a performative dream of making a movie come true, where both the dream and the movie are like chewing gum that has been tasteless for too long. A nostalgic invitation to a dancing story about a girl returning to her childhood, when she dressed up as different women using her mother's wardrobe, and all the roles she played were to please herself. This film is a tool for reconstructing the scenes from the youth, as well as a baroque farewell to all the glitter and unicorns. Stabat Mater Dolorosa is like a bayonet slashing through modern times. She gives us micro-performances with all her body, and at her own risk. SIKSA's music is the scenario rejected, grinded, spat out, negated and intensified by the characters. Piotr Macha's camera is one of the murder weapons that SIKSA would like to use to fuck up the modern reality. It's a language of art that SIKSA has been using almost unnoticed since 2014.
