ജനപ്രിയമായത് മുതൽ Poland

At first glance, it seems that Square lives in a chaotic and endlessly changing geometry. But the systems in which he functions are constantly repeated, introduce a daily routine, hypnotize without allowing any movement. Once, a new element sneaks into the pattern, which for a moment will allow Square to view reality from a different angle.

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.

A portrait of the family life in the face of the mother’s passing away. Three growing children, including the film director, have accompanied the ill woman for good or for bad, while in the background there are incidents, incomprehensible at first sight, related to the conflict with the confrontational father. The documentary utilises the means typical for home video and the takes shot using a mobile phone, which are arranged into a non-chronological reconstruction of the state of mind of the three young people.

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.

The concert "The Best of Maanam" took place in Krakow in 1994, where the band performed their greatest hits. The whole thing was recorded by Telewizja Polska and broadcast on TVP Kultura.

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.

Archimandrite Gabriel -- an Orthodox monk from the Podlasie province in Poland -- is the founder and sole inhabitant of the Kudak grove hermitage by river Narew. During his first few years there, he lived and prayed in a wagon house, without electricity, running water, or contact with the outside world. After five years, thanks to the help of people of Orthodox faith from local villages, the grove saw the rise of a wooden church, a dormitory for monks, and outbuildings. Pilgrims are drawn to the place by archimandrite Gabriel's personality: he can find common ground with anyone, he grants spiritual advice, heals with herbs, and keeps bees. When necessary, he rolls up his sleeves and works on building the hermitage right alongside everyone else. The archimandrite's biggest concern is finding a successor. Prospective monks don't last long in the hermitage, however. They can't stand the lack of access to civilization, common comforts, and contact with their peers.

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".

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.

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

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.

On an empty beach, boy meets girl - who sometimes swears uncontrollably. She is fascinated with the control he has over the kite his flying. He is fascinated with her presence. Turns out, weirdness is not as rare as we all assume.