Wanda Stanisławska-Lothe

Nikodem Dyzma is a poor dancer who comes to Warsaw to find a job. The problem is that nobody wants to hire him. One day he finds an invitation to the party with very important people and decides to attend. A small accident at the party makes him the hero of the night and becomes the beginning of his career.

After completing a project, a shipbuilder grows restless and travels the country on his motorcycle. He leaves behind his wife, a woman of virtue and responsibility, as he goes off on his amorous drunken escapades. He is part of a lost generation whose economic and vocational prospects have been severely limited in the decades following World War II. His summer cabin on the Baltic beach is torn apart by drunken revelers to feed a bonfire in this brooding and often depressing film.

A stowaway sneaks aboard a ship departing on a cruise down the Vistula River. The captain takes him for a Communist Party cultural coordinator and the intruder gladly adapts to his new role, immediately setting to work at manipulating the passengers and crew into silly and vaguely humiliating games. Before long, Tym has got everyone under his thumb and created his own comedic dictatorship.

Włodek is a young man stuck in a dead-end job at the local library who lives with his harridan wife and critical in-laws in a small apartment. When Włodek draws the interest of a library patron, the beautiful young woman encourages him to strive for better things in his life and professional career. Together, the two take off for a three-day affair, but surprises could await Włodek upon his return home.

Tadeusz Krzakoski (Krzysztof Kowalewski), the director of a failing state-owned company, is married with problems. His mistress, the daughter of a Communist party bigwig, says she's pregnant and Tadeusz knows he'll have to marry her to save his reputation and his job. But divorce is never simple and Bareja's screwball comedies are never boring.

Bezkresne łąki

A psychological portrait of Ewa, a young Polish theatre actress searching for her own way in life. She plays a minor role in Jasieński's 'The Ball of Mannequins', a complete opposite of her real personality, while aspires to star as Cordelia in Shakespeare's 'King Lear'. Ewa lives on her own, occasionally visiting a famous old actress to talk about theatre, taking care of a poor neighbor, and fights her sophisticated mother rejecting the truth about her beloved father, who died an alcoholic.

Rafał is suspected of killing a turtle that fell out of the balcony.

Wiktoryna, czyli czy pan pochodzi z Beauvais?

Filip z konopi

The Border

Strange human-shaped phenomenon appeared in Piotrowski's new flat and he approaches all available institutions to help him get rid of it.

The Woodpecker

A famous Polish journalist presents a problem for the powers-that-be when he displays his full political skill and knowledge on a television show featuring questions and answers on a world conference by a panel of journalists. His enemies take away his privileges when he is away. The shock of being "unwanted" parallels a deeper disappointment in his private life: his wife has an affair with a jealous young rival, and after 15 years of marriage and two daughters wants a divorce. She offers no explanations as he tries to untie these problems himself. All the moves he makes are the wrong ones. He takes on drinking heavily with students eager to attend his seminar after discovering the class has been canceled. The journalist, once suave and commanding, is reduced to silence.

The heroic struggle of Polish post office workers in Gdańsk on the first day of World War II.

Polskie drogi

Nights and Days is a family saga of Barbara Ostrzeńska-Niechcic, and Bogumił Niechcic, against the backdrop of the January Uprising of 1863 and World War I. The film is a rather straightforward and faithful adaptation of a novel by Maria Dąbrowska with the same title. The plot is woven around the changing fortunes of a noble (upper-class) Niechcic family in the pre-WWI Poland. There are two main crossing threads: a social history one and an existential one.