popular Ex Poland

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.

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".

An interventionist documentary showing the phenomenon of widespread prostitution, maintained in the style characteristic of the "black series" of Polish documentaries of the mid-1950s. Staged shots at the Polonia café are juxtaposed with a documentary recording of arrests conducted by the police among Warsaw prostitutes and interrogations of the arrested.

A young man lives constantly in a fantasy world, until he starts working for a railroad company.

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

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.

How we were looking for Lailonii. Film is a part of the series "14 tales from the Lajlonia Leszek Kołakowski Kingdom".