New Polish : WITH SENSE AND SENSIBILITY ’s School: THE MASTER AND HIS TRAINEES “Peter and the Wolf”: SECOND OSCAR FOR A MADE IN SE-MA-FOR STUDIO Russia, Afghanistan and Belarus: IN POLISH DOCUMENTARIES „PETER AND THE WOLF”

Polish Cinema 2008

THE TRAGEDY OF PRISONERS OF WAR, THE MISERY OF THEIR FAMILIES ANDRZEJ WAJDA’S “KATYŃ” Polish Cinema 2008 editorial

“Kino” monthly , a journal providing a perceptive and original insight into various aspects of the , has accompanied Polish cinema for over forty years now. In line with this tradition, in this special English language issue, we present a selection of articles published in “Kino” in the last year. They include reviews, interviews, as well as articles concerning the history of Polish cinema and opinion columns. However, we focus on the most interesting Polish feature films (of which 41 have been made there between the beginning of 2007 and May 2008), as well as documentary and animated films of the last year. Some of them could be seen at various international festivals, where they received numerous awards. The most prestigious award, an Oscar, came to the short animated film, “Peter and the Wolf”, which is a British-Polish co-production, directed by Suzie Templeton and made in the Studio Se-Ma-For in Łódź. On the other hand, the most awarded Polish film was “Tricks” by Andrzej Jakimowski, which till April 2008 received 12 awards, including at the festivals in Gdynia, Venice, Tokyo, Mannheim, Sao Paulo and Miami.

However, what counts more than awards is the fact that Polish viewers have regained pleasure in watching Polish films. In 2005, the total number of viewers watching Polish films in cinema was only 700,000; in 2008 it was over 8 million. It is also worth adding that many of recent Polish films are international co-productions with German, Austrian, Italian and Dutch partners. In this special issue the new Polish films are presented by their authors, and reviewed by the best Polish critics, including some young ones. We also write about some films which are currently in production due to interest they attracted.

NEXT ISSUE OF “KINO POLISH CINEMA” IN SPRING 2009 TO ORDER FREE COPY SEND US YOUR MAILING ADDRESS TO: [email protected]

2 KINO 10.2005 POLISH CINEMA 2008 KINO 3 COVER: MAJA OSTASZEWSKA AND ARTUR ŻMIJEWSKI Polish Cinema 2008 Contents IN ANDRZEJ WAJDA’S “KATYŃ” New Feature Films: 60 Years Of Polish : 6 LIFE IS UNPREDICTABLE 50 ANTIDOTE FOR KITSCH INTERVIEW WITH ANDRZEJ JAKIMOWSKI , ADRIANA PRODEUS ABOUT THE HISTORY AND THE PRESENT DAY OF POLISH ANIMATION THE DIRECTOR OF “TRICKS” I just adore authentic things. I could look at them for hours. 53 ABOUT PETER, BAD PEOPLE AND THE WOLF ANDRZEJ KOŁODYŃSKI ABOUT FILM “PETER AND THE WOLF” 9 KATYŃ: A FELLOWSHIP OF SILENCE From among hundreds of proposals from all over the world, the Se-ma- INTERVIEW WITH STANISŁAW M. JANKOWSKI , THE HISTORICAL CONSULTANT FOR THE FILM “KATYŃ” for Studio in Łódź was chosen. The decision was probably influenced by the fact that here was made another Oscar-winning animation, 16 TWO WOUNDED PEOPLE Zbigniew Rybczyński's “Tango”. AN ACTRESS KINGA PREIS TALKS ABOUT THE NEW FILM BY ENTITLED “4 NIGHTS WITH ANNA”. 56 HUMANS AND VIRUSES INTERVIEW WITH GRZEGORZ JONKAJTYS , 18 DEMOLISH OR LOVE DIRECTOR OF THE ANIMATED “THE ARK” DIRECTOR ŁUKASZ PALKOWSKI TALKS ABOUT HIS DEBUT FILM “PRESERVE” "TRICKS" 59 REVIVE THE SPIRIT, SET THE BODY IN MOTION IWONA KURZ ABOUT THE WORKS OF WALERIAN BOROWCZYK 24 THERE WAS ONLY ONE FATHER JERZY "PETER AND THE WOLF" INTERVIEW WITH THE MAKERS OF “POPIEŁUSZKO”: RAFAŁ WIECZYŃSKI , THE DIRECTOR AND AUTHOR OF THE , AND ADAM WORONOWICZ , THE LEADING ACTOR. Reviews: 27 WHEN LOVE WAS A CRIME DIRECTOR WALDEMAR KRZYSTEK 63 FEATURE FILMS TALKS ABOUT HIS NEW FILM “LITTLE MOSCOW” 64 “KATYŃ” For the young boys and girls, Katyń has been a 32 THE EXCLUDED boring subject of the history lesson. And this DIRECTOR KASIA ADAMIK TALKS ABOUT HER NEW FILM “THE OFFSIDERS” film threw them between the grinding stones of Nazism and Stalinism. I began my research by visiting night shelters and hostels. 67 “TRICKS” The most shocking thing for me was to learn how easily 69 “A FEW PEOPLE, A LITTLE TIME” one can become homeless. 70 “TIME TO DIE” 72 “TWISTS OF FATE” 41 ALMOST A PSYCHODRAMA 73 “GLASS LIPS” INTERVIEW WITH MAŁGORZATA SZUMOWSKA , 74 “PRESERVE” THE AUTHOR OF “33 SCENES FROM LIFE” "THE OFFSIDERS" 76 “GOD'S LITTLE GARDEN” 44 A LADY FROM THE PAST ERA 77 DOCUMENTARIES DIRECTOR DOROTA KĘDZIERZAWSKA AND CINEMATOGRAPHER ARTHUR REINHART 77 “IF IT HAPPENS” TALK ABOUT THEIR LATEST FILM “TIME TO DIE” 78 “KITES” "KATYŃ" 78 “THE FIRST DAY” 46 ABOUT “QUEEN HEDWIG” 80 “A LESSON OF BELARUSIAN” NEW FILM PROJECT OF THE AUTHOR OF “IMPERATIV” AND “LIFE AS A FATAL SEXUALLY TRANSMITTED 81 “LAKE PEARL'S” DISEASE” 82 “EXISTENCE” Also In The Issue 48 OUT OF NOSTALGIA FOR THE MARVELLOUS INTERVIEW WITH ANDRZEJ MALESZKA , THE DIRECTOR OF THE TELEVISION SERIES “THE MAGIC TREE” 21 THE SCHOOL OF FILM, Columns THE SCHOOL OF LIFE IWONA CEGIEŁKÓWNA ABOUT THE ANDRZEJ WAJDA MASTER Classics 89 OUTTAKES: “FILTERING” SCHOOL OF FILM DIRECTING BOŻENA JANICKA 12 50 YEARS OF THE - THE PARADOX OF THE 29 LOOKING THE TRUTH IN THE EYES RECEPTION OF “KANAL” BY ANDRZEJ WAJDA 90 IN MY OWN WORDS: “A SECRET TADEUSZ SOBOLEWSKI ABOUT TADEUSZ LUBELSKI SERVICE REPORT” WORKS OF MARCEL ŁOZIŃSKI TADEUSZ SOBOLEWSKI 38 A MAN ALONE IN THE WORLD 35 AMERICAN DREAM IWONA KURZ ABOUT THE WORKS OF 84 FILM ORGANISATIONS, INTERVIEW WITH JANUSZ ASSOCIATIONS & FESTIVALS KAMIŃSKI , A POLISH IN CINEMATOGRAPHER WHO JERZY KAWALEROWICZ When he said in one of his interviews, “I saw everything as if I was looking from WORKS IN HOLLYWOOD behind the camera”, he revealed perhaps the most characteristic feature of his films. 86 CONTENTS IN FRENCH CONTENTS IN GERMAN CONTENTS IN SPANISH

4 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 5 „TRICKS” „TRICKS”

–Itry to avoid explicitly defined characters. I think that even the most consequences are unpredictable. But it is LIFE IS characters and I hope that I do not have prominent writers can’t do that. Of course, this unpredictability that gives him hope many of them in my films. sometimes I take a certain creative that maybe, with a bit of luck, he might Besides, I believe that you do not meet initiative, but I am not always pleased achieve his goal. such clearly defined people at all in life. To with the result and if, whilst working on I don’t believe in fate. Fortunately, life is tell you the truth, I don’t even seem the set and later in editing, I can’t find unpredictable and leads us through UNPREDICTABLE explicitly defined to myself. Of anything convincing, I simply abandon the winding paths. In my opinion it usually PIOTR ŚMIAŁOWSKI SPEAKS WITH course I envy those omniscient authors character or even the whole plot that leads us to our goal in the end, it can be and their characters who know everything surrounds them. kind. That is what I talk about in “Tricks”, ANDRZEJ JAKIMOWSKI about themselves, and in addition, eagerly – The protagonist of the film, a barely ten- but I would not call this kindness fate . reveal their desires, sufferings and various year-old boy, conveys an immense – Stefek (the name of the boy) shows – There has been a 5 year gap between your other experiences before the camera. sensitivity. As if he didn’t want to put off his stubbornness and perseverance in his début and the making of “Tricks”. You gave But I prefer my characters. They also feel father or as if he believed that he shouldn’t repeated gestures through which he asks the impression of not being at all worried something and strive towards something, try to interfere with the course of events too fate for kindness. It becomes a kind of ritual, that this process lasted so long, seeming to they just don’t like to talk about it. much. a childish prayer... The first film by Andrzej know exactly what you want and that you – Each of your characters is bound up with – The boy becomes aware of the fact – Yes, because the boy subconsciously will achieve it. a clear, distinct mood. Do you start creating that if he behaved in a different manner feels that fate is more likely to be generous ANDRZEJ JAKIMOWSKI Jakimowski, “Squint Your –Idon’t feel compelled to making the profile of a character by imagining he would put his father in a difficult when he consciously goes after what he films. I do it when I feel like it and a general atmosphere that surrounds them? position. Meanwhile, what he really wants wants. Through these gestures he tries to Eyes” (2002), suggested when I feel that I have something – Not really. By having an outline of is to reawaken in his father a wish to come influence matters that are out of his important to say, and this does not happen a character in my head I begin to wonder back, but without his father realising that control. all that often. Besides, my films are very about what takes, scenes, what situations he’s trying. The boy is at the stage of his – An important element of “Tricks” is the that its director possesses personal so I write the screenplays myself, could tell me and the viewers something life when a person begins to experiment ever present railway. Stefek often sees his and writing a screenplay – similarly to interesting about him. This is what and provoke the world around him. He father on the platform. The trains could also a unique talent. His books – requires time. interests me at the beginning. Yet, I would discovers that you can cause things to be a part of his childish fantasy. What did – As with your first film, “Squint Your Eyes”, never dare to say that I invent my happen in a certain way although the the railway mean to you in the film? > second film, “Tricks”, you refuse to use any kind of tricks that would show a character in too definitive confirms this opinion. a way.

“TRICKS”: DAMIAN UL, RAFAŁ GUŹNICZAK STEFEK AND HIS FATHER ON THE PLATFORM (DAMIAN UL, TOMASZ SAPRYK)

6 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 7 „TRICKS” “KATYŃ” Our knowledge about Katyń atrocities is far from > – The railway perfectly symbolises the fascinated by the truth that often appears in recording the truth. I’m not harming world’s organisation and the power of the the improvised behaviour of these people, anyone. Besides, not only the actors” complete, because Polish historians still have no access outside forces which each person must which you noticed while you were still performance but also their presence on take into account. Seen through Stefek’s a documentary filmmaker? set is a kind of convention, in which to certain documents kept in Russian archives. eyes, it’s something inaccessible and – Yes, very much so. I just adore everyone is aware of the fact that mysterious; he doesn’t understand its authentic things. I could look at them for someone could record something at any However, from historical perspective Wajda’s “Katyń” mechanism. He is discovering that he hours. That is why I like arranging moment. understands the system better when he unexpected situations on set. I hate –Ishould have asked about this at the is as reliable as possible. looks at it from above, from the point of repeating takes many times, as it is really beginning of our conversation, but when view of the railway controller. only the first take that records something you were talking about the personal tone of of the situation, in which refugees from – Trains and railway stations often appear in spontaneous. It is, however, a very difficult your films I hesitated about asking this both the East and the West meet, Wajda student etudes. They are thought of as way to work. Part of the material in question. Your film gives the impression of showed that on that very day Poland’s destiny, taken in the hands of two military forces, was decided. I try to avoid explicitly defined characters. Of course I envy – In Wajda’s film, life in the camp is : demonstrated through scenes of Christmas KATYŃ Eve, the general’s speech which is supposed those omniscient authors and their characters who eagerly to comfort the soldiers, and also through reveal their desires. But I prefer my characters. They also conversations among the officers about the feel something and strive towards something, they just tactical manoeuvres of the September A FELLOWSHIP Campaign. Virtually identical descriptions of don’t like to talk about it. such situations appear in many diaries found with the bodies of the officers in Katyń. – We know almost everything about life in the Kozelsk camp. Fifty diaries were found with the bodies of the officers. OF SILENCE In 1989 Jan Stepek published a book “The PIOTR ŚMIAŁOWSKI TALKS WITH diaries found in Katyń”, which was a study STANISŁAW M. JANKOWSKI , of twenty-two of them. I compiled the remaining diaries after 1991. Furthermore, THE HISTORICAL CONSULTANT we also have the reports of the camp authorities from the NKVD, which I am FOR THE FILM “KATYŃ” studying at the moment. – One of the protagonists of “Katyń” is Lieutenant Jerzy, who lands in the Kozelsk – Polish historians who have, in various camp immediately after the September years, co-operated with film industry as defeat, however, thanks to mere historical consultants have usually – which coincidence, manages to survive. About forty may surprise some – approached possible officers from all three camps had similar factual inconsistencies fairly liberally. Do you luck. What else, besides for good fortune, regard it as acceptable? allowed them to escape death? –Iwasn’t immediately able to adapt to – Several officers of German origin were this way of thinking. During my first supported by the German Embassy. Those reading of the screenplay for this film who could be useful to the Soviet Union about the Katyń massacre I was still very survived. Similarly, all the agents recruited devoted to the rule that even the smallest by the NKVD were also deemed useful and detail should be in accordance with facts so survived. In case Polish intelligence or –arule which in my profession is very the intelligence of any other country took important. It took Andrzej Wajda to interest in why those particular people convince me that I was wrong because we were not executed, it was most probably were not, after all, shooting decided that a group of other Polish a documentary. Of course, factual officers should be allowed to survive consistency should be preserved when – officers who were not agents and who, ELKA, STEFEK’S SISTER (EWELINA WALENDZIAK) STANISŁAW M. JANKOWSKI possible; however, it is thanks to fictitious using the language of the secret service, events that we are able to present were to cover for these agents. characteristic moods and situations most – Wajda’s film shows Kraków shortly after visually attractive, often because of their “Tricks” is made up of private moments referring to something precise, a painful poignantly. Wajda’s film begins on the 17 the end of the war as a city which ugliness. Did you look at the railway that stolen from the actors: for example experience in your life. Is that the case? September 1939 when the Soviet army instinctively lives by the desire to maintain appeared in “Tricks” in that way too? a portrait of the boy or a single glance, – My father died not long ago. crossed Poland’s Eastern border. Two the memory of the Katyń massacre. At the –Ihave not seen an ugly train yet. I like a sentence uttered by the actor Now I can only meet him in my dreams or waves of people meet on a bridge: on the same time everyone lives in fear of the them all. It’s a pity, though, that hiring before I said action or immediately in my imagination. The ending of the film one hand we have those who are fleeing Communist authorities and what they might them costs so much. Because of this we after I said cut . has another meaning which might not be the West from the Germans and on the do to those who know anything and dare had to film all the scenes that took place – That’s almost as if you were using hidden perceived by the viewers, that probably other – those who are fleeing the East speak about it. Therefore, the memory of on a railway in only four days, because we cameras... only I can see. I from the Soviets. In reality such meetings Katyń was a phenomenon that everyone simply didn’t have the money for more. –Afilm director shouldn’t have occurred later, on the 17 September the confronted individually, without having the – Almost all the most important roles in scruples – if he wants to achieve the “TRICKS” IS REVIEWED ON PAGE 67 German army had not reached that far. courage to share their experiences with “Tricks” are played by amateurs. Are you still intended effect. After all, I am only really However through the allegorical character others... >

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> – It is a very complicated matter. At the the Soviets – in order to strengthen their beginning of 1945 Kraków choked on the propagandist actions concerning the apparent freedom. However, as soon as in Katyńcase – filmed a documentary March – a fact which not many people, presenting the exhumation. Even witnesses including Wajda, were aware of appear in the Soviet film, according to which – deportations to Siberia began. Over two the massacre was performed by the Nazis. thousand AK () officers, Wajda quotes parts of these films. representatives of the Polish Government – The Katyń issue became the object of in London and members of the an extreme propaganda struggle between intelligentsia were deported. Because the the Germans and Soviets. The Russian film deportations were taking place at the was often shown on the market square in

I hope that, if Russian viewers saw “Katyń”, they would first and foremost see the cruelty of the Communist system. After all, millions of innocent Russians were murdered in ANDRZEJ WAJDA a similar way. ON THE SET OF “KATYŃ”

same time as interrogations and arrests of Kraków and in a few cinemas. At the time people who could know the truth about the NKVD collected information through the Katyń massacre, people began to link agents on whether the public applauded the two things. Kraków was overtaken by during the screenings, or if anyone said fear. Yet simultaneously, this fear gave anything, etc. Reports of this exist to this people the feeling of a certain fellowship day. –afellowship through silence and the – The details concerning the making of the need for resistance. Soviet film were kept very secret. I have – And what kind of mood could be detected heard, however, that after many years it was among two years earlier when, in discovered that the NKVD had executed close April 1943, the Germans first announced to one thousand people before starting to that in the forest near Smolensk they had make the film, and it is their bodies – and discovered the graves of Polish officers not the bodies of the Polish officers executed by the Soviets and when they murdered in 1940 – that in fact appear in began to publish lists of the identified bodies the film. in “Goniec Krakowski” (Polish newspaper)? – The Soviets, after recapturing the area

Did Poles believe in these reports? of Smolensk from German power in the “KATYŃ”: THE INTERNED SOLDIERS AT KOZIELSK (PAWEŁ MAŁASZYŃSKI) – At that time society was very autumn of 1943, found eight collective confused. After all, every one knew that graves in the Katyń forest with over four German propaganda was untrustworthy. thousand bodies. These bodies were September 1944 they moved away this were passed on to the Kraków diocese, film. However, when I saw them in the were murdered in a similar way. Nevertheless, many people believed the thoroughly described earlier by the evidence. In your book “Forty an hour” you where they were discovered only in 1952 pre-edited version of the film I was However, I am afraid that leading Russian Germans. Goebbels wrote in his diary that technical committee of the Polish Red write that shortly after, in February 1945, by the Communist secret services. literally shocked. I didn’t know how to get politicians will return to Gorbachev’s idea, the Katyń case gave him enough Cross. The NKVD eliminated the whole the articles were most probably burned near Nonetheless, all the originals that are my thoughts together... who shortly before officially admitting propaganda material for at least a few cemetery with bulldozers. Indeed, there Dresden and this is why to this day we only preserved make up only a trace of the – How did the families of the victims of the Russia’s role in the massacre, demanded months, and rightfully so. Viewing the are no bodies of Polish officers in the possess the copies of the diaries and Katyń legacy lost in the fire in Dresden. Katyń massacre react to Wajda’s film? finding evidence of killing over eighty Katyń lists became a ritual for many Poles, Soviet film. There are just two corpses, but documents. How were they made? – Wajda’s film ends with the scene of the – The characters of “Katyń” and their thousand Red Army officers by Poles thanks to which they learned the truth historians have been unable to determine – Dr Jan Zygmunt Robel, whose execution in Katyń. Who decided on its final fates are presented in such a way that in 1920, which is of course untrue. I would about the fate of their loved ones. If, where these came from. The notion that character actually appears in the film, was episode? After all, no-one really knows how every one who lived through this tragedy not be surprised if Russia made a film however, they failed to find their names the NKVD had executed close to one an employee of the Institute of Forensic the Polish officers died. was able to identify a part of their own about an alleged Polish crime in response on the lists they could maintain hope that thousand people especially for the film is Medicine and Criminology and in 1943 – Wajda and I discussed this scene at experiences in the film. The to “Katyń”. their fathers and husbands were still alive. possible, but we do not have any evidence and 1944, when studies were carried out length, the director contemplated on how granddaughter of General Smorawiński – Do you regard your involvement in the However, after the war, the Soviet that it is true. Newspapers and forged on the Katyń documents, he took home to present it for a long time. Finally he called me not long ago and asked me for film about the execution of Polish officers in propaganda and the Communist correspondence from 1941 were planted and hid some diaries which particularly decided to film the officers standing over Wajda’s address in order to thank him for Katyń as a sort of crowning of your work as newspapers promulgated the belief that alongside the bodies in an attempt to interested him. Someone – unfortunately the ditches into which they would soon undertaking the subject of the Katyń a historian, who has studied all the many of the officers, whose names were deceitfully indicate that the massacre had we do not know who it was to this day fall. In “Katyń” there are also scenes in massacre and for showing her grandfather circumstances of this crime? found on the lists published by the been performed by the Germans when – took some of the documents out of the which the officers are shot in the in the film. – Of course. I am proud that I could help Germans, were in fact alive. This they took over the region after their attack Institute in 1944 and passed them on to basements of the NKVD. In that case we – What could the reaction of Russian viewers Wajda in the realisation of this project and information only prolonged the on the USSR. Professor Friedberg in the Archive of New were absolutely sure of how to show them be to Wajda’s film? that many of my suggestions appeared on uncertainty of the Katyń families. – Let me go back to the diaries found with Acts. Friedberg’s wife cleaned them and as accounts of the NKVD officers involved –Ihope that, if Russian viewers saw the screen. I felt that my knowledge served – In 1943 the Germans filmed the bodies of the officers in Katyń. In 1943 read them at home. A small amount was in these executions exist. I have to admit “Katyń”, they would first and foremost see a noble purpose. I a documentary showing the exposed bodies the Germans took them, along with the probably returned to the widows that they that I was worried about how the the cruelty of the Communist system. of the victims of the massacre, a year later discovered letters, to Kraków. However, in knew personally and the remaining ones execution scenes would turn out in the After all, millions of innocent Russians “KATYŃ” IS REVIEWED ON PAGE 64

10 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 11 50 TH ANNIVERSARY OF THE POLISH FILM SCHOOL – “KANAL” 50 TH ANNIVERSARY OF THE POLISH FILM SCHOOL – “KANAL” “KANAL” 50 YEARS AGO: THE PARADOX OF

TADEUSZ LUBELSKI RECEPTION It seems obvious nowadays, that the 50 th anniversary of the Polish film school should be counted from the premiere of Andrzej Wajda’s “Kanal” [literally – “Sewer”]. Half a century ago, however, its premiere was not much of an artistic event. At the beginning, there was no indication, that it would be the starting point for a new wave in Polish cinema, let alone the most important one in its history.

t first, Wajda’s film caused confusion, which was reported Polish history became the blueprint for all future depictions by in an anecdote in Zygmunt Kałużyński’s review in the the Polish Film School. A story about the so called heroism of an A “Polityka” weekly (1957, no. 12) – which, even if it was ordinary soldier, ending in some emotive image, never would have made up, was made up very well. The critic was standing in interested me as material for a film, even though I know, that this a long queue to buy tickets for the film, when a couple leaving the is the type of film that our audience wants , added the director in cinema after the previous screening told him: It’s not worth the same notes. waiting for . “Kanal” attracted long queues of viewers, but the As a matter of fact, looking back many years later, Wajda OUT OF THE SEWERS: WIEŃCZYSŁAW GLIŃSKI reception was mostly negative. This hostility is now understood, himself was not content with “Kanal”. “I think, that I didn’t fully and it could be foreseen even back then. Jerzy Stefan Stawiński, exploit the potential of the topic and Stawiński’s story”, he told the screenplay’s writer, was fully aware of this, which is proven Stanisław Janicki. He regretted that he did not make the first part, by the auto-commentary in the film’s programme, reprinted set on the ground, as short as possible ( it’s neither a documentary, JERZY STEFAN STAWIŃSKI, THE WRITER OF “KANAL”, WROTE THE FOLLOWING IN THE PROGRAMME FOR THE FILM: below. For a dozen or so years, the Uprising was nor a set-up for the characters’ dramatic story ), to concentrate on a forbidden topic in Polish public life, and even when it was the journey through the sewers. Similarly, he regretted that he „Kanal” is not a film about the Warsaw Uprising. It does not of the Uprising. “Kanal” is a brutal film, it presents the naked truth, spoken about – it was usually to disavow it. This situation only did not find a powerful enough shortcut to begin the story, such aspire to be. Showing the full extent of the Uprising and presenting it is not a colourful story about Polish heroism. I would rather call changed in 1956 when there was a political turnaround. It was as the beginning of David Lean’s “The Bridge on the River Kwai”: the whole truth concerning this event would require a huge epic it an epic about wasted heroism. Young people who, after spending expected that the first few films which broke the silence would They are burying the dead, and one of the soldiers says: “Here lies... work. We had different intentions. In writing the short story several years in the underground, come out to fight for the present the insurgents in a positive light, would give them justice. Weaver, I’ve forgotten who we buried”. It turns out that they are “Kanal” and then the screenplay, I merely wanted to show one of liberation of Warsaw, were pushed into hell. In this place, there are Released in the spring of 1957, “Kanal” was supposed to fulfil burying their own men and do not even know who they are. When the tragic and, at least for me, one of the most memorable episodes no rules of fighting on the frontline, where people die for their these first, most basic and most obvious expectations. you have something like this, you do not have to make your film of the extermination of a city with a million people. I have created homeland, bearing a white and red flag. Here, in the sewer, death is But it didn’t, or even didn’t want to, as we can conclude from any longer. If you do not manage to grab the action by the throat characters for the film, but in actuality their horrifying journey horribly pointless. None of these romantic combatants wants to die the writer’s statement, written in anticipation of future attacks. It and show its convulsions, all you can do is develop the plot . really happened at the end of September 1944 to insurgents in in this way. In such conditions, people’s masks fall off, myths are can be said that the creators – while avoiding any artistic Judging by the first, post-premiere wave of reception, it wasn’t Mokotów, when they tried to reach the centre of Warsaw by destroyed and faith is crushed; everyone is naked. Those, who calculation – wanted to present to the collective consciousness the artistic deficiencies that bothered “Kanal’s” audience most. underground sewers. Here, the boldest fantasies were taken over by entered the sewer, already fought heroically for two months among their own, bitter and tragic vision of the uprising. Negative They were mostly put off by two things: the lack of a credible reality. ruins and flames, attacked by tanks, airplanes and mine-throwers; criticism seemed to have been anticipated, and even Wajda depiction of the Uprising itself and, above all, the lack of For many years, there was nothing written about the Warsaw but this, at least, was a reasonable fight. Now, pushed into hell, left himself didn’t defend the film too vehemently. Following the first sympathy towards the insurgents, and a clear indication of their Uprising; its participants were stigmatised as criminals. Polish with no support or hope, they die under the city, horribly, like rats. wave of hostile reception (after the pre-release screening at heroism. society rightfully demands this wrongdoing be amended. “Kanal” is There were beautiful people among them; “Kanal” is supposed to “Po Prostu” club, where “Kanal” was severely criticised), he This first, historic deficiency was fully reported by the first film that talks about this, probably most tragic, chapter in recall their tragedy and pay tribute to them; but, above all, it is juxtaposed in his notes the audience’s expectations with his right Władysław Bartoszewski in his often quoted review for Polish history; this puts even more responsibility on the shoulders supposed to be an accusation and a warning. A time, in which to have his own vision of the Warsaw Uprising as a defeat, in spite “Stolica”. Let’s be honest: “Kanal” is advertised as the first film of its creators. I am afraid that neither this film, nor this story, can people die like that, should never be repeated. of heroism; defeat decided by a higher power that the insurgents about the Warsaw Uprising” , wrote Bartoszewski. This should satisfy the demands of those who await a grand-scale glorification JERZY STEFAN STAWIŃSKI hadn’t taken into account . Such a tragic vision of contemporary oblige us to answer the following question: does “Kanal” provide >

12 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 13 50 TH ANNIVERSARY OF THE POLISH FILM SCHOOL – “KANAL” 50 TH ANNIVERSARY OF THE POLISH FILM SCHOOL – “KANAL”

> a faithful image, in ideology and history, psychology and love Poland . The critic decided to delete this whole passage from narrative, of the events of the Uprising, or at least a fragment of the review, only years later reprinting it in a four-volume it? The answer is no” . He then went on to analyse the main selection of his texts entitled “My Film Library”. mistakes and most implausible aspects of the film: the fate of Other leading film critics form the time, Bolesław Michałek (in the soldiers from Mokotów was in fact decided over-ground, not “Teatr i Film” journal) and Zygmunt Kałużyński (in “Polityka” under; the division of a company into groups after entering the weekly), were unanimous in accusing Wajda of weak sewers was incomprehensible ( a disciplined and unified squad psychological motivation and avoiding to show what caused the would have been much more likely to survive ); no uprising leader tragedy of the characters. Kałużyński even went so far as say that ever pondered his decisions like Zadra (the psychological the authors were trying to play down the events, which is the falseness of the end scene where the sergeant is shot was direct opposite of what would be regarded the most important stressed by all reviewers); the liaison between Stokrotka and the characteristic of the School. In this first film about the Uprising , he composer was improbable. According to Bartoszewski, the only wrote, such an attitude is not completely unjustified: they probably authentic aspects of the film were the character of Korab and didn’t want to aggravate the wounds, while attempted to show the mass scenes at the beginning. many true events, in which they succeeded, since their film Yet another harsher criticism was the lack of emotional neutralises numerous emotional traumas . One of the few positive compensation. It was probably articulated most explicitly by opinions was offered by Jerzy Płażewski who interpreted Wajda’s Juliusz Kydryński in Kraków’s “Życie Literackie” weekly. We have film as a tragedy. Płażewski wrote in “Przegląd Kulturalny”: To

SOLDIERS OF WARSAW UPRISING: TADEUSZ JANCZAR, TERESA BEREZOWSKA, EMIL KAREWICZ

waited for thirteen years for a Polish film about the uprising. present some new truth after nine years, Wajda couldn’t resist the Warsaw Uprising! For how many people in our country are these association of heroism on the frontline... He showed heroism two words still the most vivid recollection of a tragedy, not only through the filter of futile sacrifice. He made the battle of national, but also personal? How many people have lost their loved Somosierra more poetic by adding muddy sewers. But most ones? How many consequences of this uprising – so heroic and importantly he did not show Leonidases, happily feasting before lofty – were suffered by the whole nation?! Regardless of its a heroic death, but deceived, desperate and frightened men. And political aspects, the nation is proud of it, and rightfully so. And this other bitter and unpopular truth shows his respect for the what of all this can we see in the film? asked the critic, only to defeated characters . answer himself later on in the article: two moments of direct It was not until a few weeks later, after a triumphant DEATH TRAP: TADEUSZ JANCZAR, TERESA IŻEWSKA combat, a decrepit commander, his deputy – a drunkard, screening at Cannes festival on 7 May 1957 that a new wave of scoundrel and womaniser, two implausible love plots, one opinion began to dominate. It suddenly turned out that Wajda is character of a mother, as if transported from a painting by Artur of the same calibre as Bunuel and Bergman. He comes from the Grottger [famous Polish painter, specialising in battle scenes] and same tradition as Feudillade, Borzage, Vigo and Franju. He is the a lot of vulgarities. I consider it my duty to point out, that this film, only European, who has the power of expression worthy of “Land from the plot, through dialogue, to the acting, is completely Without Bread” (Las Hurdes), and “The Forgotten Ones” (Los “Kanal” is a brutal film, it presents the unsuccessful , Kydryński summed up. Olvidados), in an era of intellectual weakness and laziness from the Even Aleksander Jackiewicz, who was of a generally favourable effeminate literary community (Ado Kyrou in “Positif”, June 1957); naked truth, it is not a colourful story about opinion of the film, accused Wajda (in the “Trybuna Ludu” that we feel, maybe for the first time, that an artist tackles the newspaper), of not giving viewers the chance to identify with the subject (of war) out of his own personal need (Lindsay Anderson in Polish heroism. I would rather call it an epic characters. “ Kanal” is, most of all, an artistic account of the time, London “The Times” of May 14, 1957), that we have discovered the it’s dominated by the motif of death, but death does not amount to temperament of a true filmmaker, and we await with optimism his an individualised drama, nor does it hold much power. It is an future works, especially if Wajda finds out what else is about wasted heroism. external study of death: the viewer observes this death, but does conventional and academic in storytelling and character building DEATH IN THE SEWERS not feel as if he is dying alongside the characters. This is due not (Andre Bazin in “Cahiers du Cinema” June 1957). After many only to the artistic concept, but also a certain coolness, with which years of a social-realist drought, Polish art had hardly ever the authors approached the topic. If this is not visible in the a chance to hear such compliments. Andrzej Wajda came home scenery, it certainly paralyses the characters. They are too from Cannes a changed man. The whole of Polish cinema started contrived, poetic and decorative. They operate like robots, even being treated differently. though they’re supposed to be normal boys, who whole-heartedly TADEUSZ LUBELSKI

14 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 15 “4 NIGHTS WITH ANNA” “4 NIGHTS WITH ANNA”

After a seventeen- TWO WOUNDED the look . You exist only as a passive object in year break, his consciousness. How did this translate into your acting? outstanding – I was aware that I was dependant on Polish director my partner, that I was only helping to PEOPLE convey his story and therefore I had to Jerzy Skolimowski KINGA PREIS TALKS TO MAGDALENA LEBECKA submit to his vision. I kept wondering what was so different about Anna that („Le Départ”, could have fascinated him. I had to see in her an inability to cope with Berlin emotion. I imagined that such a rape leaves its mark on everything, every International Film gesture: such a person won’t have a drink and relax, as she worries what could Festival 1967 happen to her; she won’t enter into close JERZY SKOLIMOWSKI ON THE SET OF “4 NIGHTS WITH ANNA” relations with anyone, because she’s too – Golden Berlin scared. Anna is nice, but she’s a bit slower, lost in thought, she’s sinking into herself, Bear; “The Shout”, she performs everyday activities automatically – she washes, gets up, digs Cannes Film in her garden... She’s also more melancholic, with this kind of sadness, Festival 1978 that can’t be shaken off. KINGA PREIS AS ANNA The challenge of my task was that I had – Grand Prize of to build a large part of my role in my sleep, in contact only with my pillow and bed the Jury; –Ihave heard that the screenplay for – Exactly. This scene was played by sheets. When one is awake, during the day, “Moonlighting”, “4 Nights with Anna” was inspired by an a body double; only parts of her body are the reactions are created consciously, with Asian story, which was adapted by the writers visible – a fragment of her thighs, breasts. control over every gesture. Here I did not Cannes Film – Jerzy Skolimowski and Ewa Piaskowska – to We played this scene later, off-screen. We control my state, fit the reality of the Polish province. conveyed the brutality of this scene just by which I enjoyed I involuntarily hugged, Festival 1982 –Iwasn’t familiar with such details. We using our voices, without touching each talked, screamed in my sleep, revealing shot the film in the north-east of Poland other, standing back to back. fragments of my memories and past – Best Screenplay), between Szczytno and Olsztyn, but the – You were, I presume, the only choice for emotions. place is symbolic, and so is its time frame. this role. – The film’s cinematographer, Adam Sikora, has made his new Here time passes slowly, which can be – Skolimowski called and told me that a man of outstanding visual sensitivity, seen in the poor quality of life, in the he had the role of my life for me, and that shares with Jerzy Skolimowski a passion for film “4 Nights mouldy and disintegrating surroundings we had to meet up – and then he painting. and, finally, in the people. disappeared for a long time. Unexpected – They both watched a series of with Anna” in – You play the title character – nurse Anna. obstacles kept piling up. I started worrying rehearsals very closely, testing camera – But she’s not the main character. The that if we couldn’t even reach each other positions, and even placed a camera under Poland. We talk to main protagonist is the man who works at during the pre-production stage, the the bed. I was moved, when they showed the hospital’s medical waste incinerator. project would never be completed. At last, me one of the shots of me undressing Kinga Preis, who The woman is the object of his fascination, shortly before shooting began, our first KINGA PREIS ON THE SET before I go to bed. They wanted to the one whom he constantly observes and meeting took place, the surroundings persuade me that they didn’t want to plays the role of stalks. were, as the director warned me, slightly offend me by exposing my nakedness in – What is the motive behind this fascination? substandard . – After all Skolimowski was the leading someone to share their misery with. But a vulgar way. And indeed, these scenes, Anna, about the – To be fair, nobody knows! I don’t play On the fourth floor of an old, run-down figure of the Polish New Wave. Mr Skolimowski tried to break the seen through the binoculars, that the main film and her work a sexy beauty, nor an outstandingly tenement house, in what looked like –Ialmost began panicking that convention; he was constantly trying to character uses to peep at the woman, were intelligent person. a drinking den, we were to play a scene, in something might happen to me whilst change things, to add some comedy. beautifully lighted and very picturesque. with the director. – But there has to be something about her which this man sneaks into Anna’s riding this crazy wave! He is a mad artist: – This shows that there was a spirit of They were usually shot from afar, from the that fascinates this man. apartment, while she sleeps. When I saw you can expect anything from him. But, improvisation during the making of this film. point of view of the stalker. The important In 2006 Kinga – What draws him towards her is not this place: a ladder standing in for his extravagance aside, this outstanding – Yes, the changeability and flexibility thing was to get a sense of the character, her beauty, but a crack, a flaw, something a window sill, on which the character was director turned out to be an exceptionally of ideas was amazing, the director kept her facial features. Her physicality was less Preis received the radiating from within her. There is this supposed to quietly creep, I thought that friendly person. On the set, he was as introducing new elements. On the set, we important. key episode in the prologue that casts this was some kind of bizarre joke. When energetic and vigorous as a 15-year-old. usually shot different scenes from those – This may be a risky analogy, but the Zbyszek Cybulski some light on his motives. The main my partner (in the end, someone else – What does “4 Nights with Anna” fit planned in the script. Mr Skolimowski concept of the character of Anna resembles character witnesses the rape of a woman, played the part), fell from the ladder with into: a psychological drama with some would look through the material every day the figure of the somnambulistic, Award, the most whose face is hidden. The meaning of this a thud, while Mr Skolimowski himself was elements of a , a psychopathological and check the rhythm: he knew exactly withdrawn, silent Yvonne, whom you scene is ambiguous: we don’t know if his imitating the outside noises: the sound of study? what to do in order best to connect the recently played in an opera adaptation of prestigious award reaction is determined by fear or the city, quarrelling drunkards and – While reading the script, I thought finished episodes. Once a week, he would Witold Gombrowicz’s drama “Yvonne, fascination. The identity of the victim also meowing cats, I was laughing my head off that it was a psychological drama, whose watch whole sequences, so that when we Princess of Burgundy”. for the young remains unclear... in bed! I couldn’t believe that this was main characters were these two heavily finished shooting, half of the film had –Iwould say that in the reality created – ...and so does the nature of this vision: Jerzy Skolimowski, the director of wounded people. Loners by choice, but already been edited. by Skolimowski it is this terribly lonely, Polish actors. whether it was a dream, an erotic fantasy, or “Identification Marks: None”, “Barrier”, also forced into such an existence by the – The whole story is told from the subjective autistic man who is Yvonne’s counterpart. reality? “Walkover”! cruelty of fate, desperately seeking point of view of the man; he is the bearer of He’s the Yvonne of this film. I

16 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 17 “PRESERVE” “PRESERVE” Praga is the name of the oldest, though far from the most picturesque part of Warsaw, situated in the centre of the city on the right bank of the river Vistula. It survived bombing during the war, and managed to keep its own unique character. DEMOLISH OR LOVE ŁUKASZ PALKOWSKI TALKS TO PIOTR ŚMIAŁOWSKI

ŁUKASZ PALKOWSKI

– You don’t live in Praga and never have. “Praga climates”, which was, among other all right, as long as we paid them, like How did your interest in this place come things, about the making of porn films at other members of the crew. But if we just about? Różycki bazaar. asked them to stand there and gave them – I’ve never lived there, but I went there – Praga is often considered a crime ridden nothing in return, and then they saw very often as a teenager. I was into heavy district and people who live there are also other people work and earn money, or metal back then, and there was a shop often thought likely to be criminals. You even worse, if they felt exploited, I thought called “The Hole” in Praga, the only place subvert these stereotypes in “Preserve”. At they could start a brawl. When working on where you could buy heavy metal T-shirts, the beginning of the film, all of your “Preserve”, I already knew what to do. The posters and badges. I clearly felt the characters seem to be either criminals or good relations we had with the residents unique atmosphere of this place – as if, on alcoholics. But, later on, as you examine of the tenement block in which we were crossing the Vistula, something took over their lives more closely, it transpires how filming were a result of a coincidence. me. I knew, of course, what kind of simple and inaccurate this first depiction When we arrived there with our cameras world I was entering. My visits to this was. to take some trial shots, they immediately district often ended in brawls on –Ihope that this gradual change in became very interested in what we were Ząbkowska Street, and losing all my portrayal will keep the viewer interested doing. When they found out that we were money. This, however, never made me in the characters, as well as in the going to shoot a film, they started telling resent Praga, let alone made me fear going transformations they’re going through. us, that the new owner of the building there. The danger of getting hit in the face The best way to demystify stereotypes is to wanted to throw them out and demolish was part and parcel of my trips to “The refer to them and show their absurdity. it. They started treating us as their allies, Hole” and made them more of a thrill. – Many minor roles in your film are played who would make a documentary and help – While writing the screenplay for your by actual residents of Praga. How did you them save their homes. One woman even debut, did you research the places that were persuade them to take part, how did you claimed that she had already seen our film supposed to appear in the film? win their trust? on TV. We soon managed to contact the – No. I wasn’t interested in making new – We, from the left-bank of Warsaw, owner who, as it turned out, just wanted observations. The first time I went to Praga consider the residents of Praga bandits, to renovate the building, but had a hard in six years was with my cinematographer and in return, they consider us a bunch of time reaching an agreement with the to gather materials for “Preserve”. I left tie-wearing sissies. Each side holds the residents... But from then on, we were with the impression that nothing had other in contempt, and this barrier is hard treated as their own. I had no problem changed since I was last there. My to break. But “Preserve” was, luckily, not persuading them to stand in front of the cinematographer, Paweł, didn’t know the first film set in Praga that I worked on. camera. Can you imagine more authentic Praga at all. He thought that many of the Just after I graduated, I was an assistant on characters? We paid them normal daily things in the screenplay were made up. By a film set there. Everyone in the crew rates, of course, and the whole crew were the end of the pre-production, he said to warned me back then, that some people told to treat them as real actors. me, surprised: Man, it’s all true! from Praga might be a nuisance to us, – In “Preserve”, you show Praga through – It’s worth adding, that your co-writer, might steal our equipment. When we were the eyes of a newcomer, who finds an Marcin, has lived on the right bank for shooting a car accident scene, we needed apartment there after splitting up with his a couple of years. a crowd of onlookers. So I stopped locals girlfriend. In general, Marcin tries to keep – In fact, it all started with Marcin’s passing by and asked them to take friendly relations with everyone, but he’s idea. He wrote a draft for a short feature part. I reasoned that everything would be also capable of such shameful things, as > CONSUMED WITH ENVY... (SONIA BOHOSIEWICZ, TOMASZ KAROLAK)

18 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 19 “PRESERVE” ANDRZEJ WAJDA MASTER SCHOOL OF FILM DIRECTING

Modern buildings, pubs, some cultural projects, are supposed to revive the district, make it more attractive for tourists. Have you ever seen, though, any of the longest dwelling residents of Praga visit any of these places or benefit from their existence in any way? For them, these changes mean a slow decline of their world.

“PRESERVE”: A GIRL FROM PRAGA... (SONIA BOHOSIEWICZ) > publishing photographs made by a boy from his tenement under his own name. So, almost all evil in this world comes from the left bank of the Vistula... – Because that is the point of view of people who live in Praga. Even though “JOURNEY” BY DARIUSZ GLAZER they’re no angels themselves, things like plagiarising someone else’s photographs is shocking to them. That sort of conduct is ...AND A STRANGER FROM THE UPTOWN (MARCIN KWAŚNY) proof of a complete lack of principles, and there always has been a certain very important, unwritten code of conduct in their existence in any way? For them, out, blew up the bridges on Vistula. THE SCHOOL OF Praga. these changes mean a slow decline of their Communication between the left and right – But most residents of Warsaw still don’t world. Soon, they won’t be able to sit on bank became difficult for a long time, and conceal their contempt towards Praga. a chair in front of their tenement and chat thus the police didn’t have full control over – And this causes a self-defence reaction with everyone who passes by. Our Praga. The crime rate significantly from its residents: if you consider us interference is killing the atmosphere of increased, and the first gangs were FILM, THE SCHOOL inferior, then we will show you. But, Praga. But we keep interfering formed. When the bridges were rebuilt, actually, they consider us superior. They nonetheless, because we find this place the atmosphere of lawlessness in Praga are impressed by our knowledge, a curiosity. We behave just like the remained. vocabulary, clothing. But if such a person, Japanese, who take pictures from the – You have shown “Preserve” at numerous whom they consider better, treats them windows of their taxi in one of the scenes. festivals, including Tarnów, Koszalin, OF LIFE with contempt or harms them in some – You filmed “Preserve” at Konopacka, Zwierzyniec and Kazimierz. How did the IWONA CEGIEŁKÓWNA way, they will want their revenge. Stalowa and Środkowa streets. I have read audiences at these festivals react to the – “Preserve” shows that time seems to have their histories. Konopacka was the first street portrayal of Praga in your film? stopped in Praga. You called the residents of in Warsaw to have trams, then horse-drawn, – To my surprise – enthusiastically. Andrzej Wajda has been running his own film school, the the tenement, in which you filmed, “the in 1866. Stalowa was the home of Praga’s I was really worried about the initial connoisseurs of time”. So when anyone intellectual and financial elite. Your film screenings. I wasn’t sure if “Preserve” Andrzej Wajda Master School of Film Directing for six from outside of Praga appears – even your shows, that this former greatness of these would be understood outside of Warsaw. crew – this calmness is ruined. This, too, places is long gone. In Tarnów and Koszalin, I had to have may be the reason for their hostility... – Konopacka and Stalowa were the best a drink before the screening to calm my years now. How does this school differ from other film – Of course. Particularly since left-bank streets in Praga for many years. Today, nerves. But the viewers read more into my Warsaw interferes a lot with Praga’s life they are part of the slums. The tenement, depiction of Praga. Some saw it as schools, who are the students, what makes the films now. People from the left-bank want to where we filmed “Preserve”, is 117 years a universal representation of a forgotten change this place, with no regard for what old, and doesn’t look to have ever been and dying place. I’ve also met people, who produced here so successful in Poland and abroad? the people who have always lived there renovated. It doesn’t have a façade, the top had similar experiences of Praga to think. Modern buildings, pubs, some floor has been shut for many years, there is those I had as a kid. Some guy gave me cultural projects, are supposed to revive no money to lay a new roof. Konopacka a high five recently and said: I never got hit he boom of Polish film schools and courses began in Andrzej Wajda Master School of Film Directing. The Wajda School the district, make it more attractive for and Stalowa are the clearest examples of in the face there, but I used to go to “The the 90s. And it continues to this day. In Warsaw alone, (as it is often called) is celebrating a small anniversary – its first tourists. Have you ever seen, though, any Praga’s downfall. The slow decline started Hole”, and I know, it’s like that there. I T there are several film schools: Academy of Film and students came to the Documentary and Feature on 21 of the longest dwelling residents of Praga as early as in 1915, when the Russians, Television, Linda’s and Ślesicki’s Warsaw Film School, not to Chełmska Street in Warsaw exactly six years ago. What visit any of these places or benefit from leaving Warsaw when World War I broke “PRESERVE” IS REVIEWED ON PAGE 74 mention cut-price courses in . And then there’s the distinguishes it from other film schools? >

20 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 21 ANDRZEJ WAJDA MASTER SCHOOL OF FILM DIRECTING ANDRZEJ WAJDA MASTER SCHOOL OF FILM DIRECTING

“7 X MOSCOW”

“7 X MOSCOW” BY PIOTR STASIK

> IDEA In autumn of 2001 during the Warsaw Film Festival, Andrzej Wajda announced that his Master School of Film Directing would open the following March. The community reacted ambivalently. Is it really necessary to open another film school in a country, which produces less than 20 films a year? But the founders of the enterprise, Andrzej Wajda and Wojciech Marczewski, claimed it was. They did not intend to compete with existing schools. They “SUBURBIAN TRAIN” were motivated by something else. On the one hand, the general BY MACIEJ CUSKE situation of the Polish film industry, in which newcomers have very few opportunities; on the other, the rapid development of The School does not teach the basics of this “SILENCE 2” BY ANNA SKORUPA digital filmmaking, which has contributed to the depreciation of the profession of directing. profession, but helps those who already The new school aims to fill the gap in young creators” lives know them start their professional careers. after they graduate from traditional universities. This is the most and cameramen. Most importantly, the best projects are produced Vinterberg, Andrei Sokurov, Ildiko Enyedi and Volker Schlöndorff. difficult time for them. It is often the case that a young Teachers are the students’ partners, who under the School’s supervision. The students mainly use digital And leading Polish actors appear on the sets of the students” filmmaker, left to their own devices, does not withstand the inspire them only in certain aspects. The cameras (the school have several latest models). Last minute films too. pressure of the free market. S/he takes up random jobs or changes are made at the school’s editing room, using electronic But the school is only as good as its students. All candidates are withdraws from filmmaking. The Andrzej Wajda Master School of feeling of community and a creative equipment. This is followed by heated debates between the university graduates, mostly from artistic and film departments. Film Directing offers the students a team-work environment, atmosphere are the characteristics most students and teachers. The feeling of community and a creative The school also admits non-professional filmmakers with a model transferred from a film school in Copenhagen, where atmosphere are the characteristics most often stressed by both considerable achievements: the films of Jakub Nieścierow, Maciej Wojciech Marczewski used to lecture. Mastery in this school is often stressed by both graduates and graduates and teachers. Cuske or Marcin Sauter have won several a team effort of the lecturer and the student – explained Andrzej One-year feature and documentary courses are not the only festivals. Wajda at the opening press conference. During a one-year course, teachers. programmes the school has to offer. There is also an international a student has to make several shorts, and in the documentary (and free!) Ekran programme – a feature directing course. Here, FILMING THE ORDINARY course – one . young filmmakers work on their projects in teams consisting of During the six years of the Master School’s existence, it has co- The School does not teach the basics of this profession, but writers, producers and cinematographers. The first Ekran produced hundreds of student shorts and films. Many of them helps those who already know them start their professional programme included work on the screenplay for Anna Jadowska’s have won prestigious awards at national and international film careers. Teachers are the students’ partners, who inspire them “It’s Me, Now”, which later won an award for best debut at the festivals. Here are some examples: “Behind the Fence” (including only in certain aspects. Polish Film Festival in Gdynia. Grand Prix Cinema du Réel, Paris ‘06), “Suburban Train” From the beginning, the courses at the Master School were The school also offers 4-month courses for secondary school (including Grand Prix at “Cinerail – Metro and Train on Film” very popular – each year there are over 10 candidates per place students – the so called Film Kindergarten, conceived by Andrzej Festival, Paris ‘07) by Maciej Cuske and “At the Datcha” (Best for the feature course and 5 for the documentary course. The Wajda. The most interesting screenplays from the teenage Documentary at the International Film Festival in Belgrade ‘07) candidates are not put off by the high cost of the course – both filmmakers are produced at the School. Apart from practical skills, by Thierry Paladino. Recently, Bartek Konopka’s “Three to Take” money wise (10 thousand PLN for a one-year feature course, 5 the participants also learn the basics of film theory and analysis. and Tomasz Wolski’s “Hospital” have won the Grand Prix at the thousand for documentary, compared to approx. 5 thousand at These students work together at the “Chełmska” Film Factory, Polish Slamdance. the Film School in Łódź), and in terms of effort needed (seven which is similar in format to former Production Units. The It is worth noting that, even though every young filmmaker intensive 10-14-day sessions with up to 14 hours of classes per Factory, which gathers directors, editors, cameramen and sound graduating from the School develops their own handwriting, day). Student fees, however, cover only a fraction of the school’s directors, is hard to get into, since its main premise is its some common features can be found even in their short films. expenses. The whole enterprise was made possible by a generous exclusiveness. After their projects are accepted (only the best get The topics they tackle, for example, are pointedly different from sponsor, Mr Ryszard Krauze. There are scholarships for the most through, and the competition is immense), the young filmmakers the stereotypes that dominate our screens. There is no open talented and letters of recommendations for those seeking have an opportunity to work with an international teaching staff violence, gang wars, pseudo-romantic kitsch or superficial comic private sponsorship for their projects. The school, whose patron is and to exchange their experiences with their older classmates. book characters. The authors turn to ordinary people, they portray the , applies each year for subsidies from Important is the fact that the famous teachers appear at the the present day with tact and tenderness and attempt to say various EU institutions participating in the Media programme. school very often; its creators, Andrzej Wajda and Wojciech something positive about the world. And, even if it is too early for Marczewski, are present at almost every class, even those for the such a prediction, the critics will hopefully slowly begin to talk HOW TO MAKE FILMS? youngest, teenage students. about a new Polish cinema, whose birth we may witness soon. This is what the teachers at Wajda’s school try to teach. Each And these names are the biggest draw. Who wouldn’t like to Maybe the graduates of Wajda’s School will be referred to in course is practical: it includes the development of individual hear remarks, even critical ones, from such big names as Andrzej similar fashion to their older colleagues from the time of the projects, work on set and editing. All classes are Master Class “RENDEZ-VOUS” BY MARCIN JANOS KRAWCZYK Wajda, Wojciech Marczewski, Edward Żebrowski, Marcel Łoziński, cinema of moral concern? Who knows? They belong to level. The curriculum encompasses all stages of production: from , Jacek Bławut, Stanisław Różewicz or Krzysztof , for which anything is possible. screenplay, through casting, to working on the set with actors Zanussi? They are joined by famous European creators – Thomas IWONA CEGIEŁKÓWNA

22 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 23 “POPIEŁUSZKO” “POPIEŁUSZKO”

Father Jerzy Popiełuszko, the chaplain of “Solidarity” – The film shows the life of Father Jerzy from existence. Fortunately, his life, full of similar situations by Cardinal Wyszyński his childhood in the countryside to his tension and drama, is ideal material for and Pope John Paul II: overcome evil with (Solidarność) was murdered in 1984 by the officers of the martyr’s death at the hands of the officers of a film. good. the Security Services in 1984. Plausibly – In your opinion, which moments of his – Masses in the name of the homeland were Communist Security Services, at the age of 37. showing the changes which take place priesthood shaped Father Jerzy for the role celebrated in St Stanisław Kostka’s Church within a person over decades is a difficult of “Solidarity’s” chaplain? on the last Sunday of every month from the task. Aside from this there’s the extra R. W .: The most influential factors were beginning of the 80s. Father Popiełuszko’s challenge of illustrating a man’s path his childhood and the atmosphere of his sermons touched on various issues: towards his religious vocation, something family home. It is here that his dedication freedom, honour, independence, solidarity, else cinema has problems with. to God was shaped. His faith, which truth, work, but also our national uprisings, THERE WAS ONLY RAFAŁ WIECZYŃSKI : Father became even greater in the later years of including the Warsaw ghetto one. Poetry Popiełuszko is too often perceived in the his priesthood, has had a big effect on recited by prominent actors was an context of his tragic death – we analyse its many people, even today, and hence the important part of the Mass too. How do you circumstances, and thus neglect the phenomenon of Father Jerzy. plan to synthesise so many subjects and spiritual aspect of his priesthood. That’s ADAM WORONOWICZ : In my opinion meetings with believers, in order to capture ONE FATHER JERZY why I concluded that I should analyse the the turning point for Father Popiełuszko their essence? PIOTR ŚMIAŁOWSKI SPEAKS WITH RAFAŁ WIECZYŃSKI , events from his perspective. He strove was his first visit to Huta Warszawa R. W. : My main concern is that scenes towards sainthood. To illustrate how this towards the end of August 1980. He went from the Masses for the Homeland show THE DIRECTOR AND AUTHOR OF THE SCREENPLAY, need was born and strengthened within there practically by accident – the steel- Father Jerzy’s intellectual and spiritual AND ADAM WORONOWICZ , THE LEADING ACTOR. him I cannot limit myself to showing just workers on strike were looking for development. He spoke eloquently about a few, even if very important years of his a priest who would agree to celebrate things that others only instinctively felt. Yet he never referred to politics, in his sermons there was no encouragement to fight against the authorities. A. W. : After each mass he asked people to walk out of the church in peace, to not allow themselves to be provoked by anyone – after all, amongst the crowd there were always officers from the Security Services (SB) dressed as civilians. Thanks to him there weren’t ever any confrontations, even though the SB officers tried to disturb the peace in various ways. In the 80s he led a peaceful, non aggressive protest against the authorities. However, when forcefully enlisted into the army, his reaction was different. He constantly angered his commanding officers by, for example, adorning his uniform with rosary beads. He was harshly punished, but the priest still rebelliously disregarded their orders. ADAM WORONOWICZ WHO PLAYS THE LEADING PART AND RAFAŁ WIECZYŃSKI, DIRECTOR – On the other hand, when Cardinal Glemp became Primate of Poland and there were some misunderstandings between him and Sunday Mass there. However, I think that Father Jerzy, Popiełuszko never acted Fortunately, for them, like for Father Jerzy, that against Glemp’s wishes. Was this only meeting was a revelation. Down to earth a matter of loyalty? the life of workers met a like-minded chaplain R. W. : Most of all – humility. Even when who understood them, and they people began to treat him as their spiritual Father understood him. He seemed to find his leader he always acted in accordance with vocation anew. The workers accepted the Church hierarchy. In his sermons he Popiełuszko, him, and he saw that during this quoted John Paul II, Cardinal Wyszyński turbulent time of the strike they needed and also Cardinal Glemp. The advantage of full of tension spiritual support. From that moment he this was that the authorities weren’t able stood by them. to question his sermons. After all, he made – After the Mass in Huta Warszawa reference to the kind of figures that even and drama, is Father Popiełuszko admitted how much the Communists had to respect. he had feared that meeting. However, – Did Father Jerzy know that he might have ideal material was it merely nervousness about entering to pay with his life for what he was doing? a new environment? R. W. : He knew that he played a very for a film. A. W. : At the time it was very easy to important role in the opposition and that involuntarily fuel anti-government the authorities were getting more and sentiment, which could lead to riots. Yet, more ruthless towards people like him. It Father Jerzy always warned against the was becoming more and more dangerous desire for revenge. He followed the around Popiełuszko, the loop around his RAFAŁ WIECZYŃSKI ON THE SET OF “POPIEŁUSZKO” evangelical rule which was repeated in neck was slowly getting tighter. >

24 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 25 “POPIEŁUSZKO” “LITTLE MOSCOW”

A. W. : In that moment everything that had been silenced by martial law came to During the Communist era, the fact that there life. Something in the system began to crumble. I think that by killing Father were Soviet troops stationing in Poland was Jerzy, the authorities crossed a certain boundary, and lost their power to a taboo subject. Waldemar Krzystek’s “Little intimidate the people. R. W. : That was probably the last Moscow” will be the first film to discuss it on the example of a specific Romanticism in Poland. The people believed in an idea and big screen. The tragic love affair between a Russian fought for it. I would like to bring this atmosphere to life. – Before filming you went to visit Father girl and a Polish boy is based on a true story. Jerzy’s mother... A. W. : Visiting her was our obligation. The meeting with Popiełuszko’s mother confirmed in my mind how I should play Father Jerzy. I was afraid that I might remind her of her son, bring back painful WHEN memories. But after a moment I realised how wrong I was. There was only one Father Jerzy. I am an actor, a different person and that is how his mother treated THE PEOPLE OF WARSAW ADMIRED FATHER POPIEŁUSZKO me. I had to look for the means to bring me closer to a general truth about Father Jerzy. LOVE WAS I think that by killing Father Jerzy, the authorities On set we experienced many emotions, fears, soul-searching. But without that we crossed a certain boundary, and lost their power to wouldn’t have achieved anything. intimidate the people. – Did you look for support or a blessing from people who knew him? A CRIME A. W. : No. I was afraid that if I did they WALDEMAR KRZYSTEK ON THE SET OF “LITTLE MOSCOW” AGNIESZKA JAKIMIAK SPEAKS WITH might have thought I was trying to impress them in some way. WALDEMAR KRZYSTEK R. W. : However, Adam made a great – In the film “Little Moscow”, which you are impression on them anyway. During the currently finishing, a love story which takes first week we filmed the scenes of the place in the 60s (an important date: 1968, Mass for the Homeland. Amongst the when the troops of the Warsaw Treaty extras there were many people who had entered Czechoslovakia), the place of action attended Father Jerzy’s real Masses. After is very important. It takes place in Legnica, the shoot many came up to me and said a town in Poland where Russian Adam looks very much like him. troops were stationed from the end of the A. W. : When I found out that I would war until 1993. Whilst writing the play Father Jerzy I felt that the character screenplay did you refer to any real events? would completely absorb me, that working –Iam from Legnica and my mother on it would be fascinating. I felt that as an told me this story. At the cemetery in actor I was experiencing a very important Legnica, beside the military sector there is moment. a grave of a Russian girl. She drew – During the conference which announced everyone’s attention because she was the beginning of filming, a question incredibly beautiful. Everyone knew that regarding the Security Services” files on she was Russian; it was also said that she Father Popiełuszko came up. What did they was fascinated with Poland, that she was contain? learning our language, read our R. W. : Reading these files was part of newspapers and books. One day her body the research. Looking at these documents was found by the river – she had I wanted to understand as much as committed suicide. It was soon discovered AT THE ST. STANISŁAW KOSTKA CHURCH IN WARSAW possible, to see how those events were why: she had been ordered to return to seen from the perspective of the people Russia, because she had an affair with > –Afew weeks before Father Jerzy’s death, A. W. : It must have been a terrible crisis from the other side. However, by the a Pole. In those years, her grave was very his friends came up with a plan to send him for Father Jerzy. After all, he must have time I went to the Institute of National well-kept, there were always flowers and to Rome to study and in this way stave off feared for his life. Remembrance the script was practically several candles lit. This story became the the danger. Was this at all possible? R. W. : In spite of this, he was consistent ready and I didn’t plan to change canvas for my film. R. W. :Ido not think so. Popiełuszko felt in his actions. That was his path to anything. I will not use the archive film – At the time, Poland belonged to the so- that he could not leave the people who martyrdom. material either. It is necessary to be called Socialist bloc, we were allies in trusted him. He was only prepared to leave – Popiełuszko’s murder, committed by the familiar with it whilst making such a film, accordance with the Warsaw Treaty. There if the order was given by the Primate. Security Services, was not only supposed to but I think trying to combine the footage was constant discussion of the Polish-Soviet However, Józef Glemp believed that he eliminate the priest who was dangerous for into our film would have created a certain relationship. You show the other side of the didn’t have the right to give such an order the authorities, but also bring the opposition distance in the viewer. And my aim was to story. and that Popiełuszko should make this to their knees. Meanwhile, his death evoked make “Popiełuszko” as engaging as – Officially, there was a strong bond decision himself. It was deadlock. a completely opposite reaction. possible. I between Poland and the USSR, but the > FORBIDDEN LOVE: POLISH BOY AND RUSSIAN GIRL (LESŁAW ŻUREK, SWIETŁANA HODCZENKOWA)

26 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 27 “LITTLE MOSCOW” MARCEL ŁOZIŃSKI

> reality was completely different. In my Russians, they were my friends. I was even film I carried out a proper investigation, film gates are ever present – and that is able to visit them at their but even though we have access to facts, how it was in Legnica at the time. The homes, I observed their lives. What’s protocols, documents, we are still unable Russians arrived at a separate platform at interesting is that they changed as a result to say anything for certain about people the railway station and went to their own of living in Poland. First, they started to from 40 years ago; we do not have the gated neighbourhood escorted by the dress differently, then to think differently. right to declare that we know everything army. Their terrain was surrounded by The character Vera from my film, for about them. Sometimes we judge too a three-metre wall and Poles were not whom this change ended tragically, is an easily, we depend on facts and documents allowed to enter there. example of this process. too much – without knowing the – Why should this story be told now? Polish – In the film there is the subplot of Russian emotions, motivations, dilemmas of the cinema doesn’t really go back to the Armenian parents, who want to baptise people who have passed away and cannot heritage of the PRL (People’s Republic of their child but they are afraid to do so. Is this give their testimonies. Poland), not even in the way that you do it, a true story? – It would not have been possible to show showing the system’s influence on people’s – It’s another story from my childhood; this ambiguity on screen if it were not for the fates. it was my mother who secretly baptised actors. You employed both Poles and

„Little Moscow” is not a political statement, but a question about the right of a political system or an ideology to decide about a person’s life. “MICROPHONE’S TEST” (1980) “89 MM FROM EUROPE” (1993)

Russians in your film and most of the dialogues are in Russian. – Unfortunately, a Polish-Russian co- LOOKING THE TRUTH production was not possible. I am especially sorry about this as the film isn’t AT THE SOVIET BASE biased towards a Polish point of view, and this is uncommon in Polish films about – “Little Moscow” is not a political the Armenian family’s child. I had enough the relations between the two countries. In IN THE EYES statement, but a question about the right first-hand knowledge to write the Polish art the image of Russians as people TADEUSZ SOBOLEWSKI of a political system or an ideology to screenplay. Much was added during the with their own problems and dilemmas is decide about a person’s life. In the times of research phase: I visited the old Soviet hardly ever shown, the ruling stereotype is censorship many subjects could be barracks, airport, neighbourhood. still the Russian gangster . We tried to Those who tried to find an unmasking of the system in smuggled into films, books and some – In the 60s, there was no indication that present the Russians as fairly as possible magazines, but one issue was never this system would collapse and the Soviet and our film wants to challenge the broached: that after 1945 Russian troops troops would leave Poland. superficial understanding of Russian which we lived in Marcel Łoziński’s films from the 70s were stationed in Poland, that Russians – The key scene in my film addresses mentality . The Russians in our film are just had their own airports here, their families this issue: Vera says that she wants to stay as lost in the obscure mechanisms of the were right to do so. But these films refer also to the world lived here, Russian schools were being in Poland and the major of the KGD system as the Poles. The leading characters opened, small Russian cities were being teaches her a key lesson about the – Michał and Vera, appear innocent, in which we live today. Łoziński talks about a person formed. That is why this gap had to be obligations of a USSR citizen: there is no untouched by the duplicity of the ruling filled. In my film I demonstrate that many place for I want in the Soviet Union, only system. Emotions take over this couple pressured by a group, about liberty, conformism and unrecorded, tragic human fates were I must . In the Russian barracks her desire is suddenly and violently and that is when concealed during this period. Our film perceived as rebellion against the system. their real struggle begins. industry for a long time could not afford to – Your film also discusses the problem of – The hardest role was maybe that of the rebellion. He also shows that the act of filming is never make a film which showed the power of remembrance. You reconstructed the story of actor playing the KGB officer, Alexei military Russia. It is only now that we people from the past so there are many Gorbunow. innocent, that the media are naturally inclined to have found the appropriate means, things that we may not know about them. – He had to convey convincingly his and I believe that it is better not to broach You send Vera’s daughter on a trip to find virtually natural dedication to the political manipulate people. a subject if it is not possible to discuss it out the truth about her mother, 40 years system and its ideology. properly. Besides, I wanted to make this after her death. Yet what happened to her – How did you find the actors who played film for another reason. Andrzej Wajda parents still remains vague and incomplete. the roles of the Russians? n the 70s, Łoziński and his friends from the Warsaw stretched. Without the documentaries from Chełmska Street, once said that you have to make films – Yes, that is why there is no easy happy –Iwatched sixty films in Moscow and Studio (Krzysztof Kieślowski, Tomasz a film of such importance for the development of the which no-one else will make. I realised ending in the film. Her daughter will never then I tried to get in contact with those I Zygadło, Bohdan Kosiński and others) created a strong and contemporary awareness as “Man of Marble” by Wajda, would that I should make a film like this; I was fully know what happened. She will only actors who were not like the stereotypes supportive group that, at a certain point, was able to drag the have never been made. brought up twenty metres from the Soviet get to know half of the truth, just like us, we have of Russians. We needed subtle board of the studio into a game with censorship. In the 70s the It seemed to him that lesson had been learned and he could neighbourhood in Legnica. Children who follow the couple’s path so many people, who would be able to render the studio on Chełmska Street was one of those enclaves of move on , enter other territories that, until then, he had not always know each other – so I knew years later. Whilst researching for the drama of the characters. I Communist Poland in which the borders of freedom were explored, make intimate movies like “Anything Can Happen” >

28 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 29 MARCEL ŁOZIŃSKI MARCEL ŁOZIŃSKI Łoziński’s mistrust towards reality is rational – this director is a child of the propaganda era, brought up in a world where the truth was constantly drowned and regulated. He read Orwell and Fromm.

“HOW TO DO IT” (2006)

> (1995), in which he filmed his 6 year-old son, Tomasz, asking people in a park questions difficult to answer. However, the new reality pulled him into line. In the feature documentary “How To Do It” (2006), he presented the backstage of political marketing. For three years he filmed an experiment, conducted by a distinguished media creator, Piotr Tymochowicz, who took on the challenge of introducing a complete nobody into the world of politics as an active political figure. By tracing this deceitful experiment, Łoziński demonstrated how much modern democracy has become a media spectacle in which the candidates’ opinions, their real qualifications, objectives and ideas are all insignificant – the goal is power in itself. This documentary, shown in cinemas, has been compared to another made by Łoziński years ago – “Recipe for Life” (1976, premiere 1981), which has also maintained a certain validity. This documentary comedy shows the mechanism of voluntary enslavement, a group escape from freedom. A fenced in summer camp for newlyweds becomes the natural metaphor for an authoritarian state, which demands and awards conformity. “SO IT DOESN’T HURT” (1998) However, the situation presented in “Recipe for Life” could reoccur today, in some small society terrorised by a group of “RECEIPE FOR LIFE” (1977). MARCEL ŁOZIŃSKI usurpers or in a large corporation. The relationships between the (THE FIRST FROM THE LEFT) something, however I know that I can’t. So I take the aquarium in group of leaders, the passive majority and the few rebellious my hands and shake it lightly. The sand goes to the top and then individuals could be of similar nature. Łoziński has no illusions you can see that it isn’t that clean after all. The fish begin to move when it comes to group conformism, but at the same time he differently. According to me this situation is more normal than the shows how one small gesture of resistance is enough to expose Łoziński’s experience of history, deprived of romantic illusions calm one. It’s just that I have to provoke it, otherwise I wouldn’t the prevalent order, to bowl over the usurpers. Łoziński’s films of purposefulness and sense has strongly penetrated into his record it . from that period clearly present the good and the bad side of films. “Witnesses” from 1987 is a priceless historical In what is considered his masterpiece – “Anything Can society. documentary – a description of the slaughter of Jews carried out Happen” (1995) – the one who is shaking the aquarium of reality Łoziński perfectly exemplifies the features of what we call the by Poles in Kielce in 1946. The crowd, aroused by a rumour of is the director’s son. The six year-old boy runs up to random Polish school of documentary. His films at the same time describe a ritual murder, deliberately murdered 42 Jews that had survived people in a park and asks them indiscrete questions: are you a particular human situation and offer its generalisation or the Holocaust, with the help of the militia and army. The film satisfied? Are you lonely? How long does a person live? Those old metaphor. They are loyal to the characters, they follow them, but relates the incident through the testimonies of Polish witnesses. people in the park seem to be – for the first time in Łoziński’s simultaneously maintain the clear perspective of the author. They It not only presents the course of the incident, but most films – excluded from the social game, captured as if beyond speak about reality, but emerge from a preconceived idea. What importantly, the attitudes of the narrators. It also demonstrates time, resting after having lived. The small boy, who does not distinguishes Marcel Łoziński’s cinema from modern another element, which forms the main motif of Łoziński’s know life yet, seems to be an alien from another planet, like documentaries, becoming his trademark , is the element of documentaries, the inertness of the crowd, herd thinking and “ANYTHING CAN HAPPEN” (1995) Saint-Exupery’s Little Prince. He has something to offer these provocation, psychodrama introduced into the film, which is action, and shows those few people, who become conscious of people, which has often appeared in Marcel Łoziński’s films – in usually exposed to the viewer. what has happened and are able to look truth in the eyes. “A Visit”, “The Touch”, “89mm from Europe”. This boy, unaware of Łoziński does not want to reproduce reality in a one-to-one Through precise knowledge of social evil, Łoziński was aware Łoziński says about his method: I know about certain things the camera’s presence, does what his director-father would like to proportion. He does not deceive himself that the camera will from the beginning of how much the representation of reality – that they happen for sure. However, for some time when I’m do: be able to approach a stranger, sit with him on a bench, record the pure truth, he does not believe in cinéma-vérité . The could be manipulated and how well reality can mask itself from there with the camera they may not be revealed. That is why obtain something from him and give him something in return. intention, what he wants to say is more important to him than us. It is not enough to observe, in order to reveal truth, it is sometimes I “thicken” reality, so to speak. I provoke certain events A small gift. A moment of selfless attention. what has been incidentally recorded. Łoziński’s mistrust towards necessary to agitate it, interfere and sometimes introduce an that I know take place. We have an aquarium. Plants ripple TADEUSZ SOBOLEWSKI reality is rational – this director is a child of the propaganda era, outside element. Social reality is a battle ground, an arena of beautifully in it, the fish swim quietly, the sand is clean. It is brought up in a world where the truth was constantly drowned manipulation and violence. In order to face it, a documentary obvious, however, that sometimes there are storms in this and regulated. He read Orwell and Fromm. film maker must use his secret weapon . aquarium. If I could watch for a month I would probably catch MARCEL ŁOZIŃSKI’S “IF IT HAPPENS” IS REVIEWED ON PAGE 77

30 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 31 “THE OFFSIDERS” “THE OFFSIDERS” THE EXCLUDED KASIA ADAMIK TALKS TO IZABELA ILOWSKA

KASIA ADAMIK In 2002, US “Variety” magazine named Kasia Adamik , the director of “The Offsiders”, one of the 10 most promising young filmmakers in the world. She has lived in Paris and the USA. “The Offsiders” will be her first film shot in Poland.

– “The Offsiders” – a film about sport or – You said that you wanted the film to show about the homeless? homelessness in as realistic a way as – Both. While reading a newspaper, my possible. How did you prepare yourself for mum (Agnieszka Holland – editor’s note) this task? found an article about the Polish team –Ibegan my research by visiting night winning a silver medal at the Homeless shelters and hostels, talking to the people World Cup. We found out later, that living there. I’ve also been in contact with Mirosław Dembiński had made people who try to overcome their a documentary about it, “Losers and homelessness. The most shocking thing Winners”. The fact that the Polish team for me was to learn how easily one can “THE OFFSIDERS” was successful at this event immediately become homeless. All it takes is a little spurned my imagination. Homelessness is stumble. And the road back is not easy. a very serious issue, and sport throws – Łukasz Palkowski, the director of credible, but also interesting as are overcome with apathy and don’t see As the story unfolds, we move away from working on a film, emotions become a positive light on it. “Preserve”, has talked in an interview about characters. I wanted to avoid creating any point in doing anything. Sport or the darker tones, but the transition secondary. You can feel empathy or – Have you been able to reach the true his graduation film about the homeless, a lyrical, fairy-tale or poetic image of success gives them positive energy. Sport is appears incidental. compassion when writing or researching heroes of this story? which still remains unedited. He assumed homelessness. I tell the stories of a couple a symbol of struggle, a struggle with – Do you think such a film can change how such a story, but then it is just work, – We learned everything that was to that there would be some tragedy, some of men, whose lives were at times themselves and their surroundings to people perceive homelessness? Can any film a constant struggle to show something know about them, but I wanted to present mystery behind homelessness. But the real tragicomic. This can happen to anyone, achieve something important. Sport change anything anymore? good on screen. You yell at the homeless them in a more filmic manner. The team causes were in most cases quite trivial: who just doesn’t have the money to pay motivates them to act, to change. In my – It is hard to change anything with one extras, just as you yell at other crew includes an ex-sailor, a failed Soviet alcohol, sometimes a woman. Do your the next instalment of their debt. film, there’s friendship between the film. But if more films like this one are members. astronaut, an unemployed miner, an heroes have different stories? – Is there a chance to get out of athletes, which is also a positive incentive. made, I’m sure that public awareness can – You have lived abroad for a long time. alcoholic former priest and a banker. I also –Iagree that homelessness is mainly homelessness? – It turns out, then, that a story about be changed. But it’s a lengthy process. Do homeless people in Poland differ in any wanted to show as extensively as possible caused by alcohol, women, prison –Ihave noticed, that time is an homelessness can be optimistic. – Real homeless people worked as extras in way from those in France or in the USA? the reasons for their homelessness, to sentences or depression. And if you don’t important factor. The longer a person is – The first part of the film is darker, your film. Was that a problem for you? – Homelessness as social exclusion is show how easy it is to end up living on the have any family or friends, also homeless, the more likely it is that they more realistic. But I wanted the film to be – They are normal people, and that’s present in Poland, as it is abroad. In the street. loneliness. I wanted my heroes to be lose hope that their luck will change. They reassuring, positive instead of depressing. how they should be treated. When USA, you can become homeless overnight. >

32 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 33 “THE OFFSIDERS” JANUSZ KAMIŃSKI

> I’ve heard many such stories, they happen all the time. And the pattern is mostly the same: a middle-class family, a house, two cars – then the man loses his job, and three months later the family is on the street. Maybe they didn’t have any savings? Or extended family, who could help them? – One of your characters, Staszek, came to Warsaw to seek a better life, but didn’t succeed and now he lives on the street. An image of thousands of Poles working abroad comes to mind. Many of them didn’t succeed either. – Of course. Homelessness is often a result of all kinds of journeys. There are many homeless Poles on the streets of Paris. They are people who came to find jobs but had no luck. They don’t know the language and end up on the street.

“THE OFFSIDERS”: JACEK PONIEDZIAŁEK, MAREK KALITA, RAFAŁ FUDALEJ Homelessness as social exclusion is present in Poland, as it is abroad. In the USA, you can become homeless overnight. A middle-class family, a house, two cars – then the man loses his job, and three months later the family is on the street. “THE DIVING BELL AND THE BUTTERFLY”

– Can the feeling of community and a shared – You have collaborated numerous times great. I met the writer, Heather Morgan, aim, albeit momentary, change the lives of with your mother, Agnieszka Holland. For and then we spent three months working THE AMERICAN the homeless? years you’ve been asked what it is like to on it together. The story was original, – The most important thing is the will work alongside such a famous and crazy, funny, it had everything I like, to help one another. It’s also important to acclaimed director. everything I always look for. It was believe that things can change. You – First of all, I’m proud to be Agnieszka beginner’s luck. shouldn’t give up. In the film sport is both Holland’s daughter. She taught me – In 2002, the prestigious “Variety” one possibility of change and its allegory. everything I know about filmmaking, she magazine named you one of the 10 most DREAM... – Is there anything about the homeless that was my film school. Not so long ago, promising filmmakers in the world. MARIA KORNATOWSKA SPEAKS WITH JANUSZ KAMIŃSKI made a lasting impression on you? inheriting your parents” profession was – Had I stayed in the USA, this honour – What amazed me most were the considered normal. If you were might have, to some minimal degree, human feelings of pride and shame. They a carpenter’s or a shoemaker’s son, you helped me with my further career. But Janusz Kamiński, an Academy often stop people from seeking help, learned the profession, and then you took soon after, I went to Slovakia, to work on looking for an alternative. Many of the over your father’s workshop. Thus, the “The True Story of Juraj Jánošík and Tomáš Award winner for homeless have families, friends, who can secrets of the profession were transferred Uhorčík”, which didn’t get finished due to help them. But pride stops them from from generation to generation, the secrets financial issues. Some time has passed in “Schindler’s List” and “Saving Private asking, from admitting defeat. They often you wouldn’t want to tell outsiders. now, and Hollywood has a very short come from small towns or villages and are – Where do you see your future? memory. Ryan” by , is the simply too ashamed to come back. – At the moment I’m moving to – Our brilliant actor, Gustaw Holoubek, once – You said once that “Offsiders” would be Warsaw. I have lived in many places. said that theatre is just a fairy-tale about cinematographer of over 30 other films. inspired by English comedy. Is it indeed? Films I can make anywhere. Filmmaking is fulfilment or the unfulfilment of human – We thought so at the beginning, but it getting harder and harder nowadays, dreams, a place to uncover the truth about They include “Amistad”, “The Lost World: didn’t come out that way; our film is so I would like to make them, where there the human condition. Can the same be said different. I was mainly interested in the are opportunities. You shouldn’t be limited about cinema? Jurassic Park”, “Artificial Intelligence: AI”, JANUSZ KAMIŃSKI formula that the English filmmakers to just one place. – Cinema certainly is a fairy-tale, but perfected, namely presenting – You have debuted in the USA with “Bark!”. most films do not uncover the truth about a stereotypical story with a social issue as Did it require a lot of effort? the human condition. For me, as a director, “Munich”, “Indiana Jones and the the backdrop, concentrating on a collective – The beginning of my directing career it is especially important to create a piece – Did you dream about Hollywood since you hero and a common project, which allows could be made into a Hollywood story. It of a different reality, to build something Kingdom of the Crystal Skull”, all directed were a child? people to overcome hardship and open up started in 2000 when Andrzej Wajda had that will draw the viewer in and –Idon’t think this dream appeared so to the world. One fine example would be just received the honorary Oscar for seamlessly transport them to a different by Steven Spielberg, “Jerry Maguire” by early. Just like every boy I liked going to “Full Monty”. “Offsiders” takes place in lifetime achievement. There was a party. place. So that it’s a journey. And a meeting the cinema, especially to see American a completely different reality, and doesn’t A producer who I already knew with people. Cameron Crowe, “The Diving Bell and the films. I remember distinctly how great have much to do with British social approached me. He told me he had a great – Will “Offsiders” be such a journey? impression “America, America”, “The comedy. I was also inspired by screenplay and wanted me to direct –Ihope it will. And I hope that when Butterfly” (Le Scaphandre et le papillon) Graduate”, “Vanishing Point”, “Easy Rider” photographs of the homeless from it. I was surprised and unsure, but I read it the viewer sees the credits, they will made on me. And, like every young person different parts of the world. nonetheless. It turned out to be suddenly realise: Oh, I’m at the cinema! I by Julian Schnabel. at that time, I wanted to leave Poland and >

34 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 35 JANUSZ KAMIŃSKI JANUSZ KAMIŃSKI

Janusz Kamiński is not the only Polish cameraman who works in Hollywood and Western Europe. The following is a list of chosen films, in which cinematography was carried out by Polish cameramen.

ANDRZEJ BARTKOWIAK : (1983, PROD. USA) DIR. JAMES L. BROOKS PRIZZI’S HONOR (1985, PROD. USA) DIR. JOHN HUSTON LETHAL WEAPON 4 (1998, PROD. USA) DIR. RICHARD DONNER

PAWEŁ EDELMAN : THE PIANIST (2002, PROD. FRANCE – GERMANY – UK – POLAND) DIR. ROMAN POLAŃSKI RAY (2004, PROD. USA) DIR. TAYLOR HACKFORD OLIVER TWIST (2005, PROD. UK – CZECH REPUBLIC – FRANCE – ITALY) DIR. ROMAN POLAŃSKI

ADAM HOLENDER : MIDNIGHT COWBOY (1969, PROD. USA) DIR. JOHN SCHLESINGER THE PANIC IN NEEDLE PARK (1971, PROD. USA) DIR. JERRY SCHATZBERG SMOKE (1995, PROD. GERMANY – USA – JAPAN) DIR. WAYNE WANG

SŁAWOMIR IDZIAK : “INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL” “THE LOST WORLD: JURASSIC PARK” THREE COLOURS: BLUE (TROIS COULEURS: BLEU, 1993, PROD. FRANCE – POLAND – SWITZERLAND – UK) DIR. KRZYSZTOF KIEŚLOWSKI As opposed to American cameramen, I create BLACK HAWK DOWN (2001, PROD. USA) DIR. RIDLEY SCOTT more with the heart than with technical –Iwas filming the television film HARRY POTTER AND THE ORDER OF THE PHOENIX “Wildflower”, directed by Diane Keaton (2007, PROD. UK – USA) DIR. DAVID YATES

correctness. I believe that sometimes it is worth (1991). An ambitious film about the 30s in EDWARD KŁOSIŃSKI : choosing a wrong light if, in this way, the drama a run down American provincial town. It EUROPA (1991, PROD. DENMARK – SWEDEN – FRANCE didn’t take long to complete the film – 22 – GERMANY – SWITZERLAND) DIR. THREE COLOURS: WHITE (TROIS COULEURS: BLANC, and mood of the scene is enhanced. days. I tried to make the lighting similar to 1994, PROD. FRANCE – POLAND – SWITZERLAND), that in “The Grapes of Wrath” by Ford. DIR. KRZYSZTOF KIEŚLOWSKI THE FAREWELL (ABSCHIED – BRECHTS LETZTER SOMMER, They showed “Wildflower” on the cable 2000, PROD. GERMANY – POLAND), DIR. JAN SCHUETTE channel Lifetime and somehow everyone : > get to know the world. I was 20 years old Columbia College. You didn’t choose noticed it. Spielberg contacted me LAST RESORT (2000, PROD. UK), DIR. PAWEŁ when, in 1980, I found myself in Greece. a specialisation there. We formed four- immediately – he was still working on PAWLIKOWSKI A fellow Pole that I had met by accident at person groups. Someone acted, another “Jurassic Park” at the time. MY SUMMER OF LOVE (2004, PROD. UK), DIR. PAWEŁ PAWLIKOWSKI a flee market told me that I should apply directed and another filmed. We made – It sounds like a real heart-throbbing for political asylum and try to get to eleven-minute films on a 16mm camera. It Hollywood dream. WITOLD SOBOCIŃSKI : PIRATES (1986, PROD. FRANCE – TUNISIA) America via Vienna. He also told me that was pure coincidence that I stood behind – My life seems a bit like a Hollywood DIR. ROMAN POLAŃSKI he had a brother in Chicago and that the camera, but that was how my future screenplay. Positive incidents and FRANTIC (1988, PROD. USA – FRANCE) brother would certainly help me life was decided. My camerawork was fortunate coincidences have played a big DIR. ROMAN POLAŃSKI TORRENTS OF SPRING (1989, PROD. UK – FRANCE – if I happened to end up in America. appreciated. For the first time in my part. I am superstitious and sometimes ITALY) DIR. JERZY SKOLIMOWSKI So a friend and I went to life I was told that I did something wonder how long my good luck will last PIOTR SOBOCIŃSKI : Vienna, I applied for asylum, and was well. I was happy. I felt very inspired and what it means. THREE COLOURS: RED (TROIS COULEURS: ROUGE, 1994, taken under the protection of the and I plunged myself into work. I put –Idon’t think you have anything to worry “SAVING PRIVATE RYAN” PROD. POLAND – FRANCE – SWITZERLAND) about. In any good Hollywood screenplay DIR. KRZYSZTOF KIEŚLOWSKI International Rescue Committee. I didn’t together about 40 etudes for my friends. MARVIN’S ROOM (1996, PROD. USA) DIR. JERRY ZAKS want to stay at the refugee camp so I took Simultaneously I worked at the university there must be a happy ending... What were HEARTS IN ATLANTIS (2001, PROD. USA) DIR. SCOTT up any job I could and that is as a lighting man to pay my way. you offered by the director of “Jaws”? do cinema. He can afford to take worked. But first we rehearsed for three HICKS how I survived 8 months waiting for – You finished university – what then? –Atrial – the mini series “Class of ‘61” risks. I think that he appreciated my weeks in Los Angeles. We managed, for DARIUSZ WOLSKI : a visa. Precisely on the 11 February –Imoved to Hollywood. That was for Amblin Entertainment. From our very different , European sensitivity. As opposed example, to darken the colouring of the THE CROW (1994, PROD. USA) DIR. ALEX PROYAS PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK 1981 I landed in America, in Chicago. The logical. I applied to the American Film first meeting we talked about “Schindler’s to American cameramen, I create more actors” faces. This worked in landing PEARL (2003, PROD. USA) DIR. GORE VERBINSKI brother of the person I had met in Greece Institute in 1987 and I was admitted for List”. He asked me what I thought of the with the heart than with technical operation scenes and it helped the actors. SWEENEY TODD: THE DEMON BARBER OF FLEET STREET did end up helping me. The Polish Welfare a one-year program. I got a job working for film being black-and-white. I told him correctness. I believe that sometimes it is Every such idea requires invention, (2007, PROD. USA – UK) DIR. TIM BURTON Association did also. I didn’t know the Roger Corman. After some time I was that I thought that in visual terms the worth choosing a wrong light if, in this experimentation, trials and, most of all, JERZY ZIELIŃSKI : language very well. I couldn’t expect too promoted to the position of second camera Holocaust was mostly remembered in way, the drama and mood of the scene is work. But, I think that is what CAL (1984, PROD. UK), DIR. PAT O’CONNOR THE JANUARY MAN (1989, PROD. USA), DIR. PAT much. I worked in a factory for $4.50 an man. I also worked for television. My first black-and-white. The preparations for enhanced. Similarly, an out-of-focus image cinematography is all about. O’CONNOR hour. After I’d been there long enough to serious independent film, very low budget “Schindler’s List” took a year and a half. In can be an advantage to the drama and – You were born under a lucky star. WASHINGTON SQUARE (1997, PROD. USA) get a raise they fired me. Another young of course, was “Grim Prairie Tales...” by the meantime I was also filming “The atmosphere. I’m not a fan of special A brilliant career in Hollywood, awards, DIR. AGNIESZKA HOLLAND person without qualifications and who Wayne Coe (1990), which was a western in Adventures of Huck Finn” by Steve effects, that is, I believe that tricks should Oscars. It turns out that sometimes the didn’t know the language was waiting on the convention of horror. An interesting Sommers. be done with the camera, whilst filming. American dream does come true. the street. combination. It was a great experience for – How did you find working with Spielberg? This method is of course much more risky. –Aposition in a profession is achieved – Were you disappointed by America? me. – Perfect. I respect him as a man, If it doesn’t work – it’s a flop. When we through talent, but most of all through – No. I found another job. I earned a bit – There are many stories about how you first director and producer. He is a professional worked on “Saving Private Ryan”, we were work. And that is what counts. Well, and and signed up for Film and Fine Arts at met Spielberg. How did it really happen? of the highest order. He just knows how to using tricks with the camera and they maybe a bit of luck. I

36 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 37 JERZY KAWALEROWICZ JERZY KAWALEROWICZ Jerzy Kawalerowicz is one of the grand masters of Polish cinema , awarded numerous times for his films at both Polish and international festivals. In Venice, he received the George Melies award in 1959 for “Baltic Express”, in Cannes in 1961 – The Special Jury Award for “Joan of the Angels”, JERZY KAWALEROWICZ in Berlin in 1978 – Silver Berlin bear for “Death of President”. And his 1967 “Pharaoh” was nominated for an Oscar. Jerzy Kawalerowicz died in 2007. A MAN ALONE IN THE WORLD IWONA KURZ “BALTIC EXPRESS” JERZY KAWALEROWICZ ON THE SET OF “JOAN OF ANGELS” (1961) (1959)

ow to review his work, and any attempt to synthesise it, These questions were of less importance to Kawalerowicz. For carefully and respectfully, was more of a source or a pretext for was always problematic for critics. The pharaoh of him, history was a necessary element of scenery when he worked the structures he was creating. The artist was not supposed to H cinema , a craftsman (as if he weren’t an artist), beautiful on literary works set in the past, an indispensable element of refer to the community they were part of, but to formulate an but cold films – such descriptions showed respect mixed with thickening the reality. He put a lot of effort into his portrayal of autonomous statement, whose form would come from within, distance: we appreciate them, but are not captivated. the past: it’s sufficient to recall his detailed research for “Pharaoh” from their own understanding of the story. Jerzy Kawalerowicz was a member of the Polish film school or “Death of President” (1977); the recreation of 1920s Warsaw The most important film inspiration, to which the director generation. More than that – as the head of the KADR production scenery was not much easier than recreating ancient Egypt. He admitted, was Italian neo-realism. Kawalerowicz began his film unit, he was co-responsible for this formation’s most important wanted to faithfully rebuild the spirit of a given era; this is well studies early, by taking the Film Preparatory Course in postwar films, made by Andrzej Wajda, and Kazimierz Kutz. exampled by the lack of erotic kisses in “Pharaoh”, since they Kraków, whilst also studying at the Academy of Fine Arts. Not In some sense, all of what we tend to call Polish school was born were not present in the artwork from the era, he didn’t have only in Poland was neo-realism being discovered, and spurred the at KADR. Paradoxically, though, Kawalerowicz stayed on the them in the film. The image of the past in these (and not only revival of film language. It was an especially radical change for sidelines. these) films, is extraordinarily evocative: his heroes, however, are Polish cinema, which was still dominated by pre-war It seems that his departure from Polish film romanticism (and not victims of history, but accidental players on the stage on conventions. Suddenly, the camera was set in motion (both on set thus also partially a break from audiences” expectations and which the power struggles are fought. Szczęsny, the hero of and outside the studio) and the actors started just being in front tastes) was a result of his different understanding of the nature of “Cellulose”, was growing up to communism in certain social of it, instead of playing costume parts. Kawalerowicz was cinema, or even his vision of humanity. conditions (even though “Cellulose” was, at the same time, a pioneer in this respect, which is visible in the first film he made The first thing that distinguishes the Polish school is their a simple modern story of social advancement), “Real End of the on his own, “Cellulose”, based on Igor Newerly’s novel (1953). shared generational experience. Kawalerowicz (born in 1922, Great War” presented the impact of war on the human psyche Modern camera work and editing, as well as great acting Munk in 1921, Wajda in 1927) was, of course, forced into physical and relations between people, but in “Baltic Express” he showed characterised the film, which far surpassed social realist labour during the German occupation; when he recalled the the world and characters cleansed of history. This was the case in propagandist films and the clichés of Polish cinema. wartime many years later he mainly emphasised the feeling of his films ever since, regardless of the costume. What became More than anything, the director was seeking the most time lost and of being starved of education, with which he prominent was the power relationship between individuals and effective film language, and in this sense, he did his neo-realist entered the postwar world. In some sense, he left history behind, institutions, the structure, in which a person has to move. homework most radically. He worked with a detailed script (over unlike Wajda or Munk, for whom history was an element, which He borrowed this element from literature. He treated it time, his precision, even pedantry, became legendary), he would devoured individuals, and a pretext to pose questions concerning differently from other Polish school directors, for whom literature draw layout plans for individual scenes to break with the editing Polish tradition and identity. contained important meanings. For Kawalerowicz, literature, read “DEATH OF THE PRESIDENT” (1977) tradition based on the chronological order of scenes or symbolic >

38 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 39 JERZY KAWALEROWICZ “33 SCENES FROM LIFE”

MAŁGORZATA SZUMOWSKA ALMOST A PSYCHODRAMA MAGDALENA LEBECKA SPEAKS WITH MAŁGORZATA SZUMOWSKA

“PHARAOH” (1966)

> and associative editing (which was close to Wajda, to end with vision of the world and its inhabitants. The empty rhythm of the Polish School references). When he said in one of his interviews train revealed the uniqueness and at the same time banality of I saw everything as if I was looking from behind the camera , he every journey, the ever-present sand and image of the desert JULIA JENTSCH IN “33 SCENES FROM LIFE” revealed perhaps the most characteristic feature of his films. In stressed the loneliness of a young ruler, a cold, empty world gave other words, the theme, maybe even individual scenes, provoke or indication of possible cause for insanity („Joan of the Angels”), demand certain formal solutions. Not only the theme, though, and crowded Warsaw streets (“Death of President”) expressed In her “Stranger” (2004) Małgorzata – Why the symbolic, Christ-referring number but also the constant search for some organic form, deriving from a swirl of ideas and emotions. in the title – “33 Scenes from Life”? Does it within the work. Setting the film on a train (“Baltic Express”) or in That is why the most important sentence in all of have anything to do with the age of Julia, a desert (“Pharaoh”) results in consequences beyond what is in Kawalerowicz’s films, at least for me, is the one uttered by the Szumowska dealt with hope, the film’s protagonist? the plot – these are not mere events on a train or in a desert: rabbi in “Joan of the Angels” (1960): The angel has left Mother –Iwas 33 years old when the outline of these are separate worlds, autonomous forms of reality. Joan, and so she is left all by herself , he says, in response to priest experienced by expectant mother. In the future screenplay came up. During my Kawalerowicz’s excellent visual imagination allowed him, Suryn’s suggestion that the woman is possessed by the devil. In pregnancy I kept a journal in the form of through precise planning and execution, to present a complete a sense, his characters are all people left on their own, even her latest film tells about the tragedy casual, sometimes one-sentence notes on though they react to their loneliness in different ways. what had happened to me in the previous There is drama and tension resulting from human nature, of dying. For her films, “Happy Man” year. Each of these points eventually has hidden under the aesthetic, sophisticated form. The distance grown into a separate scene. The number There is everything in there: life in the attributed to Kawalerowicz can be interpreted as an expression of (2000) and “Stranger”, Szumowska is purely coincidental, whilst together they his attitude towards the modern world. If in his films I were to form a chronologically developing story. world on the verge of a catastrophe, look for a statement summarising Kawalerowicz’s attitude to was twice nominated for the My German producer from Pandora Film, a warm-hearted distance towards this cinema I would quote “The Inn”, rather than “Pharaoh”. There is to whom I sent these notes, decided that it everything in there: life in the world on the verge of was a good idea for a movie. world and a completely fresh admiration a catastrophe, a warm-hearted distance towards this world and European Film Award in the category – The parents of your protagonist, Julia, die. of its beauty. a completely fresh admiration of its beauty. Similar incidents accumulated in your life in IWONA KURZ of European Discovery of the Year. a short period of time. Are you prepared for >

40 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 41 “33 SCENES FROM LIFE” “33 SCENES FROM LIFE”

> the fact that “33 Scenes from Life” will be what the story is about. They accepted this keen to understand her behaviour swing” and authoritarianism. Did editor, Jacek Drosio, has edited all my My producers were worried that Julia interpreted with a biographical key? without discussion or imposing their own and I tried to explain that it cannot be a psychodrama come out of this? films. I trust him, we understand each would turn out to be a horrible egoist. Yet – This is not an autobiographical interpretations. However, not everyone comprehended and that there is no place – Yes, almost. I think that without this other without speaking. I like team work. she is not perceived in this way at all by film! I did not create a story about myself, accepted this demand easily. For example, for discussion about the conception of the sometimes exaggerated emotional swing Similarly, I am working with Pandora Film the viewers. They like her just the way she the axis of the film is made up of Peter was used to a hygienic , i. e. five-hour character here. She comes from a theatre this film would not have been made and with the Polish producer STI for the is. Maybe because she is human, wacky occurrences that happened to me, but they working day. He was shocked when academy tradition, where they because that is the state in which the main second time. and not always correct. are only the canvas which I filled with I criticised him for how he had performed concentrated on intellectual analysis and character found herself. – You have always quoted your master, What clearly differentiates “33 Scenes fictitious micro-occurrences. Besides, in one of the scenes, which – as it turned a precise acting task, whilst in this film it – What aesthetic convention did you use? Wojciech Has, who warned against shallow from Life” from my previous work is which director doesn’t use his own life to out – was a blatant infringement of the was unpossible. What for Lupa’s actors was –Avery severe, ascetic realism; at times realism and encouraged not to be afraid of humour. You can define it as a tragi- some degree? The question is how skilfully labour code which is in force in natural, evoked resistance in Julia. it seems like a documentary. I even metaphors. comedy or a . s/he does it. Scandinavia. You can’t say you performed However, while editing the film I saw that resigned from using any extradiegetic – Today every kind of symbolism or –Acomedy which you filmed at the My mother was a popular writer, and badly... I don’t like it... You say: it was great she understood everything and in each music. Paweł Mykietyn’s II Symphony metaphor irritates me, and for this story oncology ward, in a dissecting room, at my father a well-known journalist, but let’s do it again. However Peter take she is real. She is a fascinating actress, appears in some episodes because Julia’s it would be simply deadly. Moreover, the a cemetery? therefore discussing the film in the perfectly adjusted to this new style of she never fakes. If she doesn’t know how husband, a composer, is preparing for more I love what I am doing now, the – Indeed, we filmed the film in these context of my private life is inevitable in work. to perform, she doesn’t perform and this a concert in Cologne. more I dislike my previous, overblown places too. And it sometimes happened Poland, even though it is very irritating. Julia’ task was the toughest. She had to approach is more convincing than if she – The cameraman in all your films, Michał stories. In this sense I am very atypical, that the great tension was released However, in Paris, Copenhagen or Berlin play a person who sometimes reacts tried to force something. Englert, always introduces his own ideas as I don’t become very attached to my through hysterical laughter. I used my noone will care about this. They just want irrationally, in a way which is extremely – So looks as if you imposed on actors your regarding cinematography. films. When I make a new film, I abandon own experience; I had breakdowns in to see a good movie. Artistic cinema often different to the accepted ways. She was own method: between an “emotional – This time, however, I had a very the previous one. Just like idols. I once similar situations, but people are stronger has a personal dimension, which is never precise vision: I wanted cinematography had them, now I try to rely only on than they think. synonymous with real life. In my opinion to be minimalist, ordinary, ugly , consistent myself. – You take up a subject treated as a taboo in Polish cinema lacks this personal The idea of an international cast was part of this with the dirty, hyper-realistic performance Certain values were imprinted in me, our culture. Do you think that you will help dimension, as if people were afraid of of the actors. However, Michał proposed now I am verifying them. It was always others to accustom themselves to the fear of using their own experiences, treating this European, multicultural project from the very long takes with a practically static important for me that a film had to be death through your film? as a form of exhibitionism. Maybe this has beginning. Despite some worry that foreigners camera. Ultimately, the cinematography is a morality play, or a parable with –Ihope so. I want to share my surprise something to do with a Catholic not ugly. I don’t think Michał knew how to a distinctive message. Yet in this film I am that in similar situations I reacted in a way upbringing. I don’t know. would not be able to convincingly impersonate shoot ugly takes. describing an open situation, without which contradicts the current Julia Jentsch plays a different type of What is important is that this visual trying to judge my characters; there is no understanding of tragedy. I show that woman than me, although I do admit that Poles, you get the impression that they are all style suits the story. I always work with moral lesson to learn, because it is not my tragedy, along with despair, has another there are some similarities. However Julia performing in the same language. practically the same group of people. The role to preach. side; there are no models of behaviour in draws on her own experiences, uses such circumstances, for example, pattering herself. I chose her because I know that Hail Maries with a woebegone face. After she can breathe truth and life into all, it happens that in that moment you a character. run to a pub to get completely drunk. Or – What intrigued you in this German star? other atavisms come to life, such as – Her gift of persuasion, screen truth. In craziness regarding sexuality. “Sophie Scholl”, where she played the – Was making of this film for you a form of leading role, I believed her without auto-therapy? reservations, although the film was a bit – Certainly, even though the word auto- artificial in my opinion... therapy makes me laugh. Maybe it was – On your set there was also a well-known more a confrontation of my own fear of Danish actor Peter Gantzler (who played in death. The documentary “What is there to the films of Lars von Trier, among others), be afraid of”, which preceded this and also a group of Polish artists linked with production, had a similar meaning. Krystian Lupa’s Cracow theatre. It was not – You borrowed a scene from this cheerful only an ethnic clash but also a confrontation short film (which is a recording of rural of extremely different thespian conventions. funeral customs), showing the protagonist How did you try to control this specific taking photos of her dead neighbour. There melting pot? are also metaphysical accents in the – The idea of an international cast was documentary... part of this European, multicultural project – However, there is no room for this in from the beginning. Despite some worry my feature film. Because this is such that foreigners would not be able to a specific story that any manifestation of convincingly impersonate Poles, you get metaphysics could smell of sentimentality. the impression that they are all Reality verifies our expectations, it shows, performing in the same language, even at least in my case, that in such situations though this is not so; they are speaking in everything boils down to extreme details German, English and Polish. And a month and there is not much room for sentiment. of rehearsals was enough! I enjoy this I grew up believing that death is not the unique experiment in Polish cinema end of everything. I still believe in that because it is proof of the universality of but I don’t think that this can be used as my story. But, on the other hand, it was a subject for my film. Andrei Tarkovski had a difficult project. the privilege of contemplation about what – Was it because the film concerns extreme happens after death in his works- experiences of the physiology of sickness meditations. I am not Tarkovski and I am and death. How do you talk about them? not trying to be. However, it is only now – Realistically, sometimes even brutally. that I understand better what Ingmar This project required that the actors feel JULIA JENTSCH Bergman talks about in his films. I

42 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 43 “TIME TO DIE” “TIME TO DIE”

“THE CROWS” (1994) “I AM” (2005) BY DOROTA KĘDZIERZAWSKA BY DOROTA KĘDZIERZAWSKA

a taboo. Why did you decide to take this throughout the entire film. I use a lot of firm on the ground and let ourselves go issue up now? close-ups, we concentrate on Danuta’s face only for a moment. D. K. :Ijust felt that the time came to so as to listen to her story as carefully as A. R. : The place where Aniela most likes tackle it. Certain coincidences always help possible. to spend time, think, brew tea and where and release the imagination. In this case – The film is monochromatic. What was the she observes the world is her glass my relationship with my grandmother, intention behind that decision? veranda. There are hand-cast windows in whom I see in the character of Aniela, A. R. : Whilst looking for the perfect which the sun reflects wonderfully. We certainly had great significance. Grandma building we looked at over 900 old, took advantage of this pleated glass whilst – that was my safety. My parents worked, wooden villas, or more specifically their filming the optical scenes. DANUTA SZAFLARSKA IN “TIME TO DIE” sometimes they were at home, at others, remnants, because several of them not, but my grandmother was always disappear irreversibly each year. We also there. Even though she passed away a long looked at many old photos of similar Danuta works like time ago, in a sense she is always with me. houses from the time of their greatness, a magnet, attracting people – What kind of challenge is photographing but they were black-and-white photos. A LADY FROM a 90 year-old woman – especially one That imposed a particular vision of the to herself. We could listen continuously present in the film frame – for picture. her fascinating stories for a director of cinematography? D. K. :Ihave always felt resistance ARTHUR REINHART : First of all, Danuta towards colour and I have always tried to hours. Besides she is a very Szaflarska is a beautiful woman and it is reject it. Finally a subject has come up hard to find actors as professional and which is aided by this deficiency . cheerful person, she will THE PAST ERA prepared for the role as her. It was very A. R. : For me as a cameraman filming find a good side in every MAGDALENA LEBECKA SPEAKS WITH hard work, though. Of the 28 days of a film is much harder, DOROTA KĘDZIERZAWSKA DOROTA KĘDZIERZAWSKA filming Danuta spent 26 days on set, at the I had to adjust to different means. situation and in every same time performing at the theatre in Theoretically, this is something that person. Sometimes I felt AND ARTHUR REINHART the evenings. There is a lot of text in the everyone knows, however, you have to film and yet Danuta knew it all by heart! experience it to feel the difference. like a bitter old lady in – “Time to Die” – this is something that the actress and person. The starting point for D. K. : She made a mistake once and – The dog is also black-and-white. But these comparison to her... protagonist of your movie, Aniela, often the screenplay was a story of an elderly used a different word. Her utterance still are his natural colours. repeats. It is an afterthought on the world woman from a village near Warsaw. After made sense, but Danuta interrupted the D. K. : The one we chose earlier failed today, but also a calm acceptation of the war, several tenants were lodged into take. She says that whatever is written in despite his friendliness. On set it turned – You recently finished filming “Tristan + passing. her wooden villa, which had a spectacular the screenplay is holy and that is exactly out that he was not up for it; he was afraid Isolde” in the United States. The director, DOROTA KĘDZIERZAWSKA : This is stove, crystal windows and beautiful how it should be said. of the silence and refused to cooperate. We Kevin Reynolds, considered you one of the a one-role film, the leading character mosaics on the floor boards. The house Danuta works like a magnet, attracting carried out a quick casting. The first of the best cinematographers in the world. Have virtually does not come off the screen. She deteriorated and decayed, devastated by people to herself. We could listen her new candidates walked around the room you learnt anything from your Hollywood and the dog which she talks to. The the new tenants and the woman spent the fascinating stories for hours. Besides she is in which the whole crew had come experience that could enrich your presence of the dog – a silent partner, rest of her life fighting to regain her a very cheerful person, she will find a good together and then he rolled on his back at independent cinema? allowed us to avoid internal monologues, property. side in every situation and in every person. my feet. It is how he stayed with us. A. R .: On the contrary, I think that which I do not really like. All the other Aniela from my film is also a woman Sometimes I felt like a bitter old lady in – There is also a dreamlike-imaginative layer Hollywood could learn a lot from our small characters: the son, granddaughter, endowed with a strong character. She has comparison to her. in the film which intertwines with a realistic movies. By deciding on working with me, neighbours appear and then almost a sharp sense of humour, yet she can be – Filming a movie like this has to have one. Kevin wanted to overcome the stereotypic, immediately disappear, they are only overbearing and even authoritarian. a special character. What aesthetic style did D. K. : The wooden villa – a microcosm plastic vision and I believe that I was able temporary insertions. – According to the prevailing standards, old you use in “Time to Die”? of a house surrounded by a garden and to leave my mark on this film. I had been thinking about a screenplay age, in particular that of women, is A. R. : We wanted to tell this story as enclosed as if in a bubble, is the film’s third Kevin visited us on the set of “Time to written especially for Danuta Szaflarska scandalously unphotogenic, because our simply and modestly as possible. The character. We rarely go outside it. But the Die”. He couldn’t believe that on such for some time, because she is an incredible culture affirms youth, making old age camera remains practically static unreal takes are sparse. We wanted to stay a low budget we filmed on a 35 mm, we >

44 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 45 “TIME TO DIE” “QUEEN HEDWIG” KRZYSZTOF ZANUSSI

ABOUT KRZYSZTOF ZANUSSI QUEEN HEDWIG PAINTED BY JAN MATEJKO The narrator in the film is a bard, who will be the defender of Hedwig’s honour. Her opponents were QUEEN spreading gossip, that the Queen became Habsburg’s mistress before marrying Jagiełło. SARCOPHAGUS OF THE QUEEN HEDWIG TOMB BY ANTONI MADEJSKI HEDWIG a TV series about the queen, which will be shot at the same time young couple had to meet at the Franciscan monastery, and PIOTR ŚMIAŁOWSKI as the film. Hedwig was always accompanied by someone, so that they could I wrote the film script , says Krzysztof Zanussi, and the series was not fulfil the last stage of their wedding vows. When William co-written by Michał Komar and myself. The narrator in the film is finally managed to enter the Wawel Castle, the magnates Zanussi wrote the first draft of a bard, who travels from fair to fair soon after Hedwig’s death, threatened to kill him. Habsburg took risks on other occasions too , telling people the story of her love for Habsburg. The bard will be says the director. At one point, he was in Cracow secretly, and to a script about Saint Hedwig the defender of Hedwig’s honour. Her opponents were spreading kill him then, somewhere in a street, wouldn’t have been such gossip, that the Queen became “Habsburg’s mistress” before a scandal as if the visit had been an official one. I wanted to show a couple of years ago. Since then, marrying Jagiełło . that this couple was in some way cornered. Even while dancing The film will start with a scene depicting the childhood they had to whisper to each other. Hedwig saved Habsburg at the text has been extended. wedding and the ceremony, in which they are put to bed Wawel Castle by lowering him from her window on bed sheets. together. This will be a kind of prologue. In medieval times, this When trying to reach him herself later, she was stopped by the Filming will probably begin this type of wedding ceremony was the first stage of entering into guards and tried to smash the gate with an axe. This shows how a proper marriage. The final stage is a night spent together, when passionate her feelings were . year. This is going to be one of two the couple reaches an appropriate age, which at that time was 12. The film will include a scene showing Hedwig and Jagiełło’s By then, though, Hedwig was already sitting on the Polish King’s wedding, a condition of which was that Hedwig’s husband projects that the director will make throne. William was supposed to come to meet her at the Wawel couldn’t come near her for three years. The film will end with Castle. This moment will be the proper beginning of Zanussi’s Hedwig’s death, which the director wants to present as the in Poland after a three-year hiatus. plot. fulfilment of her sacrifice. “TIME TO DIE” (2007) BY DOROTA KĘDZIERZAWSKA The circumstances of Habsburg’s stay in Kraków are still the In working on “Queen Hedwig”, Zanussi faces the problem of subject of heated debates between historians researching employing teenage actors for two main parts. “Hedwig’s and > had Super Techno, a Panavision camera... Queen Hedwig’s life. Some claim that the youngsters fell madly William’s age should be viewed from the perspective of their He said that he himself would like to work edwig of Anjou was the only woman in history to sit on in love, while others say that they were too young to experience times”, explains Zanussi. Back then, a 12 or 14-year-old girl was an with such a dedicated and concentrated the throne of the King of Poland. She only lived for such passionate feelings. I, of course, will present their adult. In constructing her character, I relied on Długosz’s account crew. H about 25 years – we do not know her exact date of birth relationship as a great love affair , says Zanussi. Only then will [famous Polish historian], which described her as an exceptionally – You have been making independent – but she became an object of religious and artistic worship. the whole story become appropriately dramatic. This does not mature and wise woman. Other historical sources describe William cinema together for some time. You control In 1986, Pope John Paul II pronounced her blessed, and then, mean, however, that I misrepresent facts. The sources from the as “a fine young man” with dashing good looks. I follow these the creative process yourselves – from the in 1997, canonised her. time simply appear to be very unclear. We will never know many sources. This allows us to avoid seeing them as children, and cast screenplay phase, to editing and production. There are three primary motifs in Hedwig’s biography: her things. That’s why I will have to create a myth about slightly older actors . In this artistic tandem where are the marriage at the age of barely four, to seven-year-old William Hedwig. I select events, that I am sure really took place, and Another issue on this production will surely be set design. boundaries between the roles of director Habsburg in 1378, her coronation in 1384, following many present Hedwig in a positive light, thus help creating her There is now no trace of the era in which Hedwig lived in Cracow. and cinematographer? months of bargaining between Polish magnates and Hedwig’s myth. I am fascinated by her spontaneous religious devotion. The The Romanesque and Gothic styles were replaced, even “flooded” by D. K. :Iwrite the screenplay mother – Elizabeth of Bosnia, Queen of Hungary and Louis of sacrifice she made, giving up her love for Habsburg, was not only Baroque , says Zanussi. The interiors of the Wawel Castle look myself, I cannot do it any other way, Hungary’s widow, and her 1386 marriage to Lithuanian prince made for the benefit of the state, but also for Christianity. A voice completely different now to during Hedwig’s reign, not to mention however there are no rigid boundaries. Jagiełło. As a condition of this marriage, Jagiełło had to be which, according to reports at the time, she had heard in the other places, where the Queen stayed. Therefore, it is not possible to Arthur often turns my attention to baptised in the Christian church. As Władysław’s wife – this was cathedral, told her to accept Jagiełło’s proposal. This was the use authentic objects in the film. We have found some exterior something, gives me a hint. And vice the name assumed by the prince upon his baptism – Hedwig miracle that shapes the way we understand her life. With her locations in Malbork, but other sets will have to be built from versa. became famous for her ardent campaigning for the wisdom and gentleness, Hedwig lead Poland into a new era – the scratch. We will obviously use computer effects, but I think they are A. R. : For example Dorota starts to Christianisation of Lithuania and a peaceful resolution to the great era of the Jagiellonian dynasty, during which Poland was still too imperfect to base key scenes on them – computer editing is grumble that she doesn’t like something in dispute with the Teutonic Order. the most powerful it has ever been. This was the end of the always visible . the frame. Krzysztof Zanussi will present mainly the story of Hedwig and middle ages with its characteristic barbarism . “Queen Hedwig” will be a Polish, Hungarian and Austrian co- D. K. : But it’s not about showing who William’s engagement and a miracle, which made the Queen The marriage of Hedwig and Jagiełło was hastened by Polish production, and the crew will be international. The sets will rules or to compete for who knows better. sacrifice her personal happiness and agree to marry the magnates, who sought an ally in the growing dispute with the probably be designed by a Hungarian. Sławomir Idziak, who has We do everything to make our film the considerably older Jagiełło, a prince of a formerly pagan country. Teutonic Order, worried at the same time that the possible worked on some huge projects abroad, including “Black Hawk best. That is all we care about. I He will omit the struggle for power during the two-year period marriage between the Polish queen and William would Down”, “King Arthur” and, more recently, “Harry Potter and the when there wasn’t a monarch, just before Hedwig’s coronation subordinate Polish interests to the Habsburg dynasty. That is why Order of Phoenix”, will be in charge of cinematography. “Queen “TIME TO DIE” IS REVIEWED ON PAGE 70 and the beginning of her reign. This subplot will be included in William was not let into the Wawel when he came to Cracow. The Hedwig” will have a budget of approximately 20 million PLN. I

46 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 47 “THE MAGIC TREE” “THE MAGIC TREE” OUT OF NOSTALGIA FOR THE ANDRZEJ MALESZKA MARVELLOUS JAKUB SOCHA SPEAKS WITH ANDRZEJ MALESZKA The television series “The Magic Tree” has been shown all over the world and has received many awards, including an EMMY. A film version is currently in production.

– “The Magic Tree” seems to be liked – Publicity is absolutely essential, –Imake modern and original fairy everywhere. Do you feel like an artist of the because a film does not exist without an tales. I link real occurrences with the globalisation era, who transgresses cultural audience. But I do not believe that you can miracles, because that is how children see boundaries? promote a mediocre film. Certainly not the world. But, first and foremost, these – It has got nothing to do with when the audience consists of children. are films. They have to have the elements “THE MAGIC TREE” globalisation. My films are fairy tales The promotion budget for big productions that make up the energy of a film and discuss things we all have in is about 30 million dollars. We are never – powerful emotions and expressive those who secretly play the lottery. Age is particular hate boredom. That is why I try The dice cannot be painted. You can only common: yearning, especially children’s going to be able to afford that. That is why characters. And they have to have an not important. Besides, when adults see to make films full of incredible events, to try to keep throwing it as long as possible. yearning, a deep need for miraculous for the promotion of my films, I look for element of surprise, which makes us wait a child struggling against difficulties, they lead the viewers through a fascinating I do not like talking about films in events, a need every child has (and many creative people, who use innovative in suspense for the next scene. simply see an equivalent of themselves. world. Besides fairy tales, I’m inspired by terms of fulfilling certain tasks. I believe adults do too). Such marvel does not methods to reach the audience. This is not What I most like in this genre is the game They see an adult fighting against classic adventure stories; all those that the most important thing in cinema is signify complete detachment from the a job for cold people from advertising. between what we anticipate and the something beyond their scope. We wonderful stories that smell of exotica and expanding the imagination. People who real world, but more an attempt to They will not create a rapport between the unexpected. A child wants the story to constantly come up against tough danger. I transform them in my own way, can imagine what another person is complete the partial picture which we film and an audience, because they have something they’re familiar with, as opponents, such as bosses, politicians, but respect their rules. feeling are usually good people. That is are given by our senses. I also make films usually do not like the people they are this gives a sense of security – and at the people stronger and richer than us. That is – You once said that reality is as you create why, if cinema has any purpose, it is to about the relation between the small talking to. same time they want to be continuously why we like to see how an even smaller it. What role do your films play in this open up the imagination. man and large world, about the fact that – “The Magic Tree” is reminiscent of surprised. It is a constant breaking of the person manages, gains a type of construction? – It has been said that “The Magic Tree” in an encounter with a big, anonymous Kieślowski’s “The Decalogue” – they are mirror in which the world is reflected and miraculous strength and doesn’t give up. –Ionce said that I hated a passive represents a difficult optimism. Do you agree threat we actually stand a chance. That is both short stories about core values, which then putting it back together anew. Besides, our childhood never lasts long acceptance of what fate has in store. One with this? why I am understood by viewers from we overlook in everyday life. Whilst making – Do young actors enrich the roles through enough. We want to go back to that various countries. I also think that when “The Magic Tree” did you think about the their own sensitivity and experiences? wonderland. we are children we see the world common concept that linked the whole –Iwork very closely with actors, – Unlike in blockbusters, like “Shrek”, you The films are imbued with a sense similarly, regardless of where we grew series or did you concentrate on particular especially child actors as early as when I’m do not include pop-culture motifs. Don’t you up. Many emotions are identical. “The episodes? writing the screenplay. It’s not about like irony and distance? of hope that something amazing Magic Tree” has as large an audience in – The main motif of the series is the asking what the screenplay should be like, –Ithink that parody or quotation will happen to all of us. South American countries as in story of the Magic Tree that was used to but finding out what evokes doesn’t make up a child’s language. Scandinavian ones. I watched the film make hundreds of ordinary objects. Each emotions. I often rehearse with an Children prefer to eat ice-cream, not with those audiences and the reactions of them maintained some magical power incomplete screenplay and it is only then a parody of ice-cream. Irony and distance were practically identical to those in and ended up in the hands of ordinary that I finish it. are opposites of truthfulness. of the episodes of “The Magic Tree” is – Children have one fantastic Poland. Although some preferred the people. This is the mythical equivalent of – You make films assuming your audience We need to look for a new language to about a boy who finds a dice with only characteristic – their resistance to bad surrealistic story about the library in dispersed power. The films are imbued are children, but many of your viewers are tell film fairytales, also those for adults, black and white sides. The black side luck. Children face unbelievably difficult which books can be eaten, whilst others with a sense of hope that something adults. What do you think attracts them: the but this does not mean we have to reduce signifies bad luck, the white good. Philip experiences, yet they have incredible that of the eyeliner with which you can amazing will happen to all of us. But each quality of these films, or maybe nostalgia for them to parody. If we make fun of the keeps getting the black side and is strength consisting of their faith in draw yourself another face. In that one part of the series is separate and has times gone by? wolf, people will find another monster to haunted by misfortune. He has two a positive conclusion. Even in the most a girl painted herself the face of a film different characters. – My films are not easy to classify. The bring out their fear. But the alternative to possibilities: do nothing or take a risk. The difficult situations they find star and lived a double life. – How should stories based on fairy tales target audience is anyone who usually has stupid films will never be boring films. boy comes up with a third : to paint a mysterious energy, which allows them – Does the success of a film also depend on which have been repeated many times their feet on the ground but quietly Aside from hunger and pain, boredom is the whole dice white. He wants an easy to maintain this faith. I transfer this into the publicity and PR? before be told? believes in miraculous events, for example the worst experience. Children in life without risk. But that is not possible. films. I

48 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 49 60 YEARS OF POLISH ANIMATION 60 YEARS OF POLISH ANIMATION Animation is, apart from documentary, the most dynamically developing field of film art in Poland. Artistic cinema can serve as an antidote for the visual kitsch flooding television and the multiplexes.

“KIZI MIZI” BY MARIUSZ WILCZYŃSKI “TURNING THE INSTRUMENTS” “ICHTHYS” BY MAREK BY JERZY KUCIA SKROBECKI

“PEOPLE OF ISRAEL WENT INTO THE MIDST OF THE RED SEA ON DRY GROUND” BY KRZYSZTOF KIWERSKI The second Academy Award winner in the history of Polish animation was the co-production of Se-ma-for and British BreakThru Films – Suzie Templeton’s “Peter & the Wolf” (2006), with music by Sergei Prokofiev. This monumental production has revived the industry and encouraged foreign filmmakers to cooperate with Poland. The Quay brothers, for example, plan to make their next film in Łańcut. Kamil Polak’s “Świteź” – a loose adaptation of a romantic ballad by Adam Mickiewicz, currently being finished at Se-ma-for – also stands a chance of winning an Oscar. The film, being a combination of 2D and 3D animation, with hundreds of masterfully painted sceneries, has been occupying the department of animation at the Film School in Łódź for the last few years. The film is a heroic undertaking, considering the small budget, and would be a challenge even to a much larger studio with many more animators. “THE CATHEDRAL” BY TOMASZ BAGIŃSKI The most distinguished artists of Polish animation, using traditional techniques, with their own distinct handwriting , released their latest works a couple of years ago (in 2000: Jerzy Kucia’s “Tuning the Instruments”, Piotr Dumała’s “Crime and ANTIDOTE FOR KITSCH Punishment”) and keep the audience waiting for the next ones. ADRIANA PRODEUS Rybczyński, made in 1980 at Se-ma-for Studio in Łódź, won an But it will surely be worth the long wait. Jerzy Kucia – the master Academy Award for Best Animation Short Feature in 1983. of intertwining sound and image in abstract poems, from which Twenty years later, “The Cathedral” got an Oscar nomination dream-like bits of memories emerge – is working on “The Fugue fter a period of stagnation in Polish film, animation Wojciech Jerzy Has, Andrzej Munk or Jerzy Kawalerowicz. – Tomasz Bagiński’s parable, based on a fantasy short story and for Cello, Trumpet and Landscape”. It will be a personal –afield of film stemming from fine arts, such as painting Filmmaking was by then completely state-funded, and the films the paintings of Polish artist Zdzisław Beksiński. Even though it endeavour, an attempt to seize – through the combination of A and graphics, combined with the most advanced were produced in large, state-owned studios. And, despite was not as innovative as “Tango”, the film showed technical music, graphics and painting – the subtle relations of meanings technologies – nowadays has vast potential. The golden age of censorship having still existed, the greatest film artists in Poland possibilities available to 3D animators in Poland. Bagiński’s next and emotions triggered by a landscape. Piotr Dumała, known for Polish animation started in the second half of the 50s and lasted knew how to avoid it. A favourable political climate (following project, “Fallen Art” received a BAFTA. The author of “The his narratives scratched in plaster that penetrate the gloomy all through the 60s. the repressive Stalinist era), expression of great individualities Cathedral” defies the heritage of avant-garde artistic animation psychologies of Kafka and Dostoevsky, has decided to work on At the same time, feature film saw the emergence of the most and a vibrant artistic atmosphere during that time gave birth to and sees his works as part of computer art and new media. He is a feature film with experimental animated sequences. The black distinguished figures in Polish cinema, who created the Polish a legend, which filmmakers of today still invoke. sometimes accused of being superficial in content and imitative and white “The Forest” will be a claustrophobic, almost School. It was not by accident, that the achievements of Jan Polish animation has its roots in fine arts, and has always been in design, but he is nonetheless considered a distinct personality story of two men facing death. Lenica, Walerian Borowczyk, Daniel Szczechura, Ryszard Czekała philosophical. Formal experiments, as well as political in the realm of animation. It is owing to his success, that many Witold Giersz, author of such films as “Little Western” (1961); or Mirosław Kijowicz coincided with the works of Andrzej Wajda, statements, were often made. The legendary “Tango” by people started noticing this art form. “Waiting” (1962); “Red and Black” (1964), is the only one of the >

50 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 51 60 YEARS OF POLISH ANIMATION “PETER AND TWHEYDWZOIALFŁ ”

Ground” (2007) was created by Krzysztof Kiwerski, director of the famous anti-war “Zero option” (1983). “Peter and the Wolf”, a stop-motion animation from Aleksandra Korejwo, an artist famous for her classical music variations animated in salt, awarded with the Clio Award and an British and Polish filmmakers, made in Se-ma-for Studio Annie Award nomination, is working on her new film: a 12- minute “Frederic Chopin – Scherzo”. in Łódź, is only 29 minutes long. But it is an extraordinary Tamara Sorbian-Kasprzycka, author of the award-winning “Adagio Cantabile” with Albinioni’s music, a film inspired by the film, a technical and artistic masterpiece. It has received paintings of Witold Wojtkiewicz, a Polish painter who lived at the turn of the 20th century, plans to tell in her next film, “Stopped awards at numerous festivals, including one of the most Time”, the story of the last day in the life of Bruno Schulz, a Polish writer („Cinnamon Shops”), who was killed in Drohobycz ghetto in 1942. prestigious: the Academy Award for Best Animated Short Feature. “CRIME AND PUNISHMENT” BY PIOTR DUMAŁA ABOUT PETER, BAD PEOPLE

“TANGO” BY ZBIGNIEW RYBCZYŃSKI AND THE WOLF ANDRZEJ KOŁODYŃSKI The legendary “Tango” by Rybczyński, made in 1980 at Se-ma-for Studio in Łódź, won an Academy Award for Best Animation Short Feature in 1983. The second Academy Award winner in the history of Polish animation was the co-production of Se-ma-for and British BreakThru Films – Suzie Templeton’s “Peter & the Wolf” (2006), with music by Sergei Prokofiev.

> oldest generation of filmmakers, who still takes up new Animation also seems to tempt filmmakers, who have so far challenges. The artist, known for his fauvist use of colour, been making feature films. Andrzej Barański, with the help of animates stone paintings, as if taken from Lascaux caves. painter Edward Dwurnik, has created “The Countdown”, an Marek Skrobecki is one of the most talented classical puppet amusing story of housing project residents, drinking beer in front animators in Poland. He learned animation at Aardman Studios of a local shop. The duo is now working on an animated feature and Jim Henson’s Creature Workshop, to become a very skilled “Oasis”: set in 1980, the time of the biggest economical crisis in animator. Following the excellent “DIM” (1992), featuring life- Poland, in a public toilet under a large city. sized puppets, Skrobecki created the award-winning “Ichthys” Lech Majewski, an of personal, erudite artistic features, (2005) – an example of the artistry of puppet animation. He also also experiments with animation. His next production will worked as the set designer for the Oscar-winning “Peter & the combine with animation of Bruegel’s paintings. Wolf”. His next project is “Danny Boy” – an 18-minute social Also seem interesting the numerous projects of the younger satire tackling the problem of alienation of the individual. generation of animators. It is remarkable that there are more and Mariusz Wilczyński has been the discovery of the last couple of more female directors among them. Izabela Plucińska, for years. Starting with “Times Have Passed” (1998), he has emerged example, whose debut “Jam Session” received the Silver Bear in as a creator who uses simple yet refined drawing, accompanied the Short Film Competition at the 55th International Film Festival by and intertwined with music. He is known to the general public in Berlin in 2005, has started working on a Polish-German co- as an author of animated inserts for Kultura TV Channel, for production “Esterhazy”, based on a book by Irene Dische and which he received a Hot Bird TV Award twice. Wilczyński’s films Hans Magnus Enzensberger, whose main characters are rabbits “Unfortunately” (2004) and “Kizi Mizi” (2007), shown at the during the fall of the Berlin Wall in 1989. National Gallery in London, MoMa and Archive in Owing to the digital revolution, everyone can make a film at New York, have put Wilczyński among the world’s top animators. home and release it on the Internet – which opens doors to The musical rhythm and poetic imagery bring these films closer talented people, who would otherwise remain unnoticed. PETER SAVED THE DUCK to lyric, and their recurring characters and motives: cat, dog, king, The interest in animation is growing, and so is the number of child, woman, old woman create a small theatre of reminiscence. talented artists and possibilities of financing them. If the most he Russian composer Sergei Prokofiev wrote the symphonic lustrous career of Peter, Bird, Duck and Wolf on stages around the „Zoopraxiscope” (2005) is the latest film by Hieronim talented animators resist the temptation of advertising or large fable for narrator and orchestra in 1936, basing its libretto world began. Neumann – the director of the award-winning “Event” (1987). productions abroad, if they are able to find their own language T on a Russian folk tale. In May of that same year, he In some versions, the spoken narration illustrated the This seemingly facetious story of male-female relations is in fact among the chaos of unlimited technological possibilities, then we conducted the performance of his work in Moscow, narrating the choreographic scenes, while in others it preceded the action on a tribute to Eadweard Muybridge. An interesting 3D visual poem will definitely witness the heyday of this art form. text between musical fragments himself. In January 1940, the stage. The contents, though, remained the same: on a sunny “People of Israel Went Into the Midst of the Red Sea on Dry ADRIANA PRODEUS ballet version of the piece was staged in New York. Thus, the morning, Peter comes out in front of the homestead he lives in to >

52 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 53 “PETER AND THE WOLF” “PETER AND THE WOLF”

abandoned in the corners have signs of usage, as if left there a moment earlier. Hyperrealism? Not only that. Skrobecki succeeds in infusing the whole work with magic, which allows us to perceive the simple, yet extraordinary history of Peter with intense emotions. The so called animatics were used for the film. Zbyszek Żmudzki explains: An animatic is a filmed , with schematic, simplified motions of characters and the camera. This allowed us to check if the plot is clear, if the accents and climaxes come in the right places. Especially important in this was to precisely synchronise the images and the . Suzie [Templeton] did not have a storyboard, instead she would immediately create an animatic in Adobe Flash software, even during the shooting. After the scene was shot, she would insert it into the animatic and improve the scenes that had not been shot yet. The issue of synchronising puppets’ movements to the soundtrack was absolutely crucial. The 24-track recording for the soundtrack, to achieve spacious sound, was done earlier at London’s All Hallows Church by the Philharmonic Orchestra conducted by Mark Stephenson. This recording was then put into tables, with frame by frame images, as the outline for detailed works. Prokofiev’s music is almost onomatopoeic: the flute represents Bird, the oboe is Duck, the three horns – Wolf, the clarinet – Cat, etc. The stop-motion animation was filmed note by note, in close connection with the music, using light-weight Canon cameras with Nikon lenses, which allowed for achieving an extraordinary resolution of 13 megapixels. On average, 100 frames make up a 4-second shot. There are 420 shots in the film. To make one shot, half a day was needed for preparation, and at least one day for shooting, although work on particularly complicated shots took as long as one week. It is impossible to describe all the technical difficulties, but it is worth noting that action within one scene often took place on 8 planes, therefore the puppets had to be shot on a blue screen. Then, the supports for the puppets were removed and set decorations, such as snow, fog or drops of water, were added in SUZIE TEMPLETON ON THE SET RECORDING post-production. This is all the result of the never-ending patience THE MUSIC OF SERGEI of the animators. Zbyszek Żmudzki explains: The most PROKOFIEV complicated scenes were animated by Adam Wyrwas. Suzie said that he is the best puppet animator in the world. His puppets not > play on the meadow with Bird and Duck. Cat appears and tries to studio began. From among hundreds of proposals from all over only move, but act and convey emotions. My favourite scene, with catch Bird. Angry Grandfather makes the boy return home. Then, the world, the Se-ma-for Studio in Łódź was finally chosen. The perfect animation, is Duck’s dance on ice. This can really enter the Wolf emerges from the woods. Bird and Cat find refuge in a tree, decision was probably influenced by the fact that this was the hall of fame of the best animated scenes in history. Krzysztof but Duck has no time to escape... Just then, Peter comes back and, studio in which another Oscar-winning animation, Zbigniew Brzozowski is another one of our great animators . with the help of Bird, lures Wolf to the tree, where he captures it Rybczyński’s “Tango”, was made. Puppet construction was obviously also an issue. There were by the tail with a long rope. Hunters come to help, and they all Thus began the biggest Polish-British co-production in the several heads with different facial expressions for Peter. There take Wolf to the zoo, with Peter leading a triumphant parade. history of animation. New versions of the scripts were made, and were duplicate characters, silicone faces and hands, whole figures It is a simple story, whose meaning seems to be encapsulated the director went on a documentary trip to Moscow and St. made of latex, hair and animal fur applied with tweezers, layer in the sentence printed on the sleeve of the film’s pressbook: Boys Petersburg, as it was known from the outset that the film would by layer... tremendously laborious and precise work, which like Peter are not afraid of wolves . But on screen, events take take place in Russia. Just like in Prokofiev’s work, but with a twist. seemed to never end. a different turn, which gives this sentence another, deeper Most importantly, the summer was changed into a harsh, Is it surprising then, that this film, less than half an hour long, meaning. Siberian winter. Zbyszek Żmudzki, the Polish co-producer, says took five years to make? That a team of almost 200 people worked Credit for this goes to the director, Suzie Templeton. This young that the director brought a lot of pictures from Russia – of small- on it in Great Britain and Poland? THE SET DESIGNED BY MAREK SKROBECKI film-maker attracted attention of the critics with her two puppet town, shabby architecture, high-rising housing estates and woods , The world premiere took place on 23 September 2006, in the , “Stanley” (2000) and “Dog” (2002). What they have in as well as pictures of a little boy, Maksim, who became the famous Royal Albert Hall, with live accompaniment from the common is not only precise animation, but also a very personal, prototype of Peter . The sets were to be completely realistic, built Philharmonic Orchestra conducted by Mark Stephenson. sensitive vision of the world, in which the storyline, given in from natural materials and resources. Such set decorations are In Suzie Templeton’s realistic, yet poetic version, Wolf is not a brief, poetic form, reveals an abundance of dramatic meanings. not usually used in animated films. The wood, from which Wolf locked up in the zoo. Trapped in the net of ropes, it is brought into Suzie Templeton was approached to direct the film by producers comes out, is 22 metres long and 16 metres wide, with 1700 trees, town, where Grandfather tries to strike a deal, but Peter decides from BreakThru Films, Hugh Welchman and Alan Dewhurst, who bushes, grass and stones. The town and run-down homestead are otherwise. He frees Wolf, accompanies it through the rows of pointed out that this is a classical tale of transformation told to fully realistic, as is the frozen lake, where Duck dances and Cat hostile people, to the road leading to the woods, and lets the the accompaniment of wonderful music . A story, in which an falls into the blowhole. animal go. It is not only a happy ending, but it proves that the boy inconspicuous-looking boy succeeds always appeals to children. Set designer Marek Skrobecki (who earlier directed “Ichthys”, has grown up, he is no longer submissive, afraid, he is able to Suzie Templeton began by sketching the characters and set featuring life-size puppets) is known to his collaborators for his make his own decisions. Boys like Peter are not afraid of wolves decorations, and started writing the script with Marianela attention to detail. Even the 1cm buns in shop windows are sounds here like a brave life credo, not only for children. Maldonado. The script had an ambitious aim – to interpret music, wrapped in paper with Russian print and, if you look carefully, rather than illustrate it. At the same time, the search for the right even metro tickets have appropriate inscriptions. Wheelbarrows THE WOLF FROM THE TALE ANDRZEJ KOŁODYNSKI

54 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 55 “THE ARK” “THE ARK”

– The theme of epidemics and other dangers make human faces non-realistic an escape the port, it resembles the biblical Ark. It is forcing people to flee the land has already from the imperfection of animation? huge, but there’s a certain grace to it. The HUMANS AND been used numerous times in feature films. – Yes, although I have to say that while shot is in warm colours. The interior, on the But animated films are watched with working on “The Ark”, I wanted to face the other hand, resembles a submarine. It is also a different approach, the images are noticed challenge of realistic facial animation. This pretty dirty and dark. Thus, there’s first. turned out to be really hard and was never a juxtaposition of positive and negative – An animated film is a story told in achieved. I should add that I have never colours, as well as the biblical and the GRZEGORZ JONKAJTYS a briefer manner. What is important are seen a computer-generated human face, modern. VIRUSES symbols, the language of associations that which was not empty , and which –Iwanted to convey such a contrast. TALKS TO PIOTR ŚMIAŁOWSKI invoke additional contexts in fractions of managed to convey emotions. People look Please notice, though, that the interiors are GRZEGORZ JONKAJTYS

“THE ARK” ...AND THE FINAL RESULT

a second. But “The Ark” uses the theme of in mirrors every day, they meet with other not all modern. They look more like escape only as an excuse to talk about people. That’s why they are able to sense a World War II submarine. The computer is Grzegorz Jonkajtys’ animation “The something else. Is it a story of people certain falseness in even the most realistic the only electronic device in there, and it’s fleeing an outbreak, or a story of a micro- computer equivalent of a human face. also quite dated. This interior is neither Ark” has received the “Best of Show” drama, taking place inside the human Stylisation is thus a very convenient contemporary nor futuristic. mind? method for animators, allowing for the – You have lived and worked in America for award at SIGGRAPH 2007 , the computer – The main character of “The Ark” is the exaggeration and simplification of a couple of years. At Café FX, you have co- leader of the people looking for the healthy a character’s facial expressions. created for such films as animation and visual effects festival. The land. There are some animal-like features in – The main character is almost always “Gothica”, “Hellboy”, “Sin City”, “Pan’s THE FIRST SKETCHES OF his face, it is hard to imagine it expresses present on the screen. We observe him in Labyrinth” (El Laberinto del Fauno) and, THE HERO’S FACE.... festival, which takes place in the USA, is happy feelings. How was your idea of this various situations, surrounded by numerous more recently, “The Happening”. Did you – I’ve heard that work on animation often face born? small objects. This must have required have the same technical resources while the largest event in the world showcasing starts without a complete screenplay. First – At first I thought of a dog’s head, a large team. making “The Ark” in Poland? only a vague idea exists; the details take but I abandoned this idea. But, even – There were many people working on – We were able to use the Motion shape as the work progresses. Was it also though it’s a human, one can see certain such details as the model of a shoe or piece Control device for “The Ark”, which is the application of computer technologies the case with “The Ark”? remnants of the concept of the dog’s head. of clothing, the models of small objects owned by Platige Image Studio. Motion – The storyboard was the script for my The faces of secondary characters also that you mentioned, others worked on the Control is in fact a robot, used for shooting in film, with 905 works submitted to the film. The basic idea was such: the land is resemble animals, especially positions of interior of the cabin, the corridor or the in motion. It performs precision attacked by a vicious virus, and people their eyes. Such a solution has a very interior of the hall. I simply wrote down all movements in space with an attached contest. Jonkajtys’ film was also qualified have to flee by ships – the arks – to the sea. simple reason: since the story takes place the things I needed for the film and, if camera, and repeats the same trajectory Since I’m a graphic designer, I’ve simply on an ark, some visual associations with someone was willing and had time to many times. But we didn’t use an for the official selection of the 60th skipped the stage of writing the animals should be present. do something, I asked them to do it. analogue film camera, as this would have screenplay, and instead created the – Creating an animated face is reportedly – The colours of the ark and its construction considerably raised the cost of the International Cannes Film Festival. drawings for individual, subsequent shots very hard. Many animators try to avoid it at are a very interesting combination. In the production, and we would have had to –astoryboard. the start of their career. Was your decision to first shots, when we just see one vessel in process the film and scan it. We used >

56 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 57 “THE ARK” WALERIAN BOROWCZYK Walerian Borowczyk is one of the most interesting , but This is the technique used by Tim Burton on “Corpse Bride”. When his least known Polish artists (not only filmmakers). When he film was released, I had already started died in February 2006, the press tried to help us recall his working on “The Ark”. We came up work. They stressed his role as pioneer of animation, but with the same method independently which, I must say, makes me very also his achievement in artistic erotic cinema. proud. REVIVE THE SPIRIT, > a digital camera instead, and then made – It depends on the project. If the interesting. Even though the film is an stop-motion sequences by combining the director has artistic intuition and can draw accurate adaptation of Miller’s graphic still frames in a computer. Thanks to himself, then indeed you only execute his novel, we had to add numerous details to Motion Control, we were able to repeat vision. But if there’s only a rough outline the original drawings. every pre-programmed motion, e. g. with of the shot, you can present some – All the films on which you worked are different lighting. Besides, the interpretations, and the director usually features. Doesn’t that encourage you to SET THE BODY IN photographs were at a much higher accepts one of them. There’s a lot of space work with actors in the future, as a director? resolution than scanned film. This is the for your own creation in animation for – Of course. I may make an animated oth , animation and erotic cinema, were equally technique used by Tim Burton on “Corpse feature films. For “Pan’s Labyrinth”, for film, but I would like, above all, to make unknown to Polish audiences, and both – albeit for Bride”. When his film was released, I had example, we had to create the motion and a feature. I would use the experience I’ve B different reasons – functioned underground. Only “Story already started working on “The Ark”. We gestures for a couple of characters from gained in animation and visual effects. MOTION of a Sin” (1975) was widely distributed in Poland, while “The came up with the same method scratch, and we could not transfer the Directors who have no experience with IWONA KURZ Beast” (La Bete, 1975) and “Immoral Tales” (Contes independently which, I must say, makes motion from the human to the character, computer technologies, often don’t Immoraux, 1974) only briefly showed up on our screens at the > me very proud. because the creatures were not humanoid. know, that some effects, though – Let me get back to your work in the USA. Is The director, , only gave seemingly complicated, can be easily there any room for real creativity in making us vague guidelines – e. g. what happens achieved. They give up certain scenes visual effects for feature films? Doesn’t the to the characters or where on the screen while writing a script, because they seem work consist mainly of executing orders from they should be located. The rest was up to too costly to them. I, on the other hand, the director, who already has a precise idea us. The work on “Sin City” by Robert know how to create spectacular shots at of a certain shot? Rodriguez and Frank Miller was also very a low cost. I

THE PICTURE IN THE MOTION CONTROL TECHNIQUE “THE GAMES OF ANGELS” (1964)

58 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 59 WALERIAN BOROWCZYK WALERIAN BOROWCZYK

feature debut), through “Immoral Tales” and “The Beast”, to “Behind Convent Walls” (Interno di un convento, 1978), “Immoral Women” (Les Héroines du mal, 1979) and “Lulu” (1980), to name a few – is anatomical detail: the giant phallus of the Beast, a huge cucumber, used to satisfy one of the heroines of “Immoral Tales” or a rabbit used for the same purpose by another one. The very nature of these motifs illustrates Borowczyk’s unique style. When his films are described as bloody and full of sex (in one of the scenes, the heroine has sex with a giant cucumber) , it’s difficult not to laugh. It is not simply laughter at whoever wrote the description. After all, this description is not completely inaccurate; associations in the “The Beast” are in fact surreal, horror and humour exist side by side, conjoined with much sophistication. This combination is garish, sharp and sometimes hard to accept, since it leaves the viewer feeling helpless. Borowczyk’s cinema is defined by a contrast between a world of sublime manners, alleged innocence of the girl and the wildness of desire, embodied, as we can suppose, by the beast. As a result, lust becomes the chief mechanism of this reality, with its source being the well-mannered and seemingly innocent girl. Even “GOTO, ISLAND OF LOVE” (1968) though this description does not entirely suit Borowczyk’s more recent films, where we observe a certain exhaustion of his main motifs (such as lust), his work cannot be reduced to pretty if > beginning of the 90s. His animated films, especially those made somewhat indecent films. They escape such evaluation, just like after Borowczyk left for France in 1958, were practically known dreams, where we understand everything, while in fact only to festival audiences. The Polish press rarely celebrated the understanding nothing. numerous awards won by the director (including the prestigious The themes cited here also show that there is no reason to Max Ernst lifetime achievement award in animation in 1967) and radically separate Borowczyk’s animated and feature films. Not if they did acknowledge Borowczyk’s successes, failed to mention only because the director himself considered such distinction to the nature of his achievements. be misleading ( this must have been conceived by archivists , he said Walerian Borowczyk is known for his association with erotica ironically in an interview for “Cahiers du Cinema”). He believes and is remembered as a controversial figure. He was comfortable the reason for making films lies always in the hands , whether with such labels. He knew what he was doing, when he was these hands are directing puppets or people. It is just a matter of singling out eroticism as a special sphere of human life, different material, material which has nothing to do with the particularly misrepresented. In an often cited interview for artistic expression of the director anyway. “Kino” more than two decades ago, he said: Eroticism, sex is, after So, even though Walerian Borowczyk would limit his all, one of the most moral sides of life. Eroticism does not kill, does characters’ imagination – including his animated characters – by not destroy, does not urge to do bad things, nor does it lead to stressing their similarity to robots and machines, he himself was crime. On the contrary: it soothes, it brings joy, fulfilment, gives a eulogist of unlimited imagination (particularly his own). The selfless pleasure . This statement is, above all, a protest, especially legend of an artist has to include one vital element: already in his since sexuality was such a taboo topic in Poland. childhood... Raised by a ticket inspector with a passion for Żeromski’s novel “Story of a Sin”, which the director was painting, Walerian Borowczyk experimented with puppet theatre, adapting for the screen at the time, seduced him with its realism where the artist creates a reality which is wholly under his in the form of an abundance of historical details, but also its command. surrealism: miraculous events, unexpected plot twists and, above He became interested in animated film while studying at the all, exceptionally strong emotions. This film, the first he had Academy of Fine Arts in Cracow, even though after graduating he made in Poland in years, fascinated Poles by its eroticism. The mainly occupied himself with motionless forms: posters, book was just a pretext for the director, just like several other lithographs and graphics. He returned to animation after meeting works he had adapted: “Rosalie” (1966) based on Guy de Jan Lenica. Borowczyk enlightened Lenica about the true Maupassant’s short story or “Lulu”, based on Frank Wedekind’s potential of this art form. Their joint efforts resulted in their 1957 drama. film, “Once Upon a Time”, which gained considerable recognition Żeromski is interested in social conventions (and attempts at throughout the world. A new era had begun: not only in transgressing them), but Borowczyk constructs his characters in Borowczyk’s life, who soon left Poland with his wife, Ligia (who a completely different way. His heroine is entangled in a reality later played in some of his films, acting most frequently with just she does not understand, in a mechanism, which not only her face) but also in the history of animation. Borowczyk and LIGIA BOROWCZYK AS “ROSALIE” “IMMORTAL TALES” (1974) surpasses her, but operates against her will. In the book “My Lenica came up with an innovative approach to animation and Polish Years” (2002), the director described the main character as a new direction, away from animation for children. an artificial duck – an eighteenth-century concept invented by „Once Upon a Time” was made using readily available Jacques de Vaucanson, who constructed a mechanical bird, which Borowczyk’s adaptation of “Story of a Sin” reveals a deep recreated reality (the use of costumes, often from the turn of materials: coloured paper, figures cut out from illustrated performed all the functions a real one would. He defined the role aesthetic awareness. During the early 70s, when this film was the 19th and 20th centuries and detailed scenery), as well as magazines and geometric forms were mixed in a kind of collage. of an actress (in the director’s hands), and of a character (in the made, the appreciation of kitsch had already begun, its potential frame composition, period-specific music (consciously evocative In another of their films, “House” (1958), the graphic facade of the hands of other characters or external, impersonal processes) as was seen in wider terms than simply the art of happiness . of high art), an attention to detail and polished photography can block of flats conceals a world ruled by both living objects, and comparable to robots or machines. This is particularly visible in Pedantic recreation of the reality of the beginning of the century in themselves satisfy the viewer. old photographs and drawings. One of the motifs in this film is a key love scene between Łukasz and Ewa (the protagonist of this was not caused by his attention to historical detail; rather, it was But this stylistically refined setting places the heroes (or, more based on photographs of fencers from the experiments of film), when the man arranges his lover in a pose from an expression of Borowczyk’s attachment to the beauty of the often, heroines) inside a mechanism, which operates beyond Étienne-Jules Marey who, like Eadwear Muybridge, tried to a photograph he found in a book. Borowczyk regarded world and, above all, to the style of its depiction. their will, a mechanism, in which they are mere cogs, as opposed analyse and capture motion using a photographic camera. photography as a root of identity when he was working in Żeromski’s adaptation points at certain characteristics of the to initiators. The most often cited recurring theme in Borowczyk’s “School” (1958), on the other hand, is entirely constructed of animation. entire Borowczyk’s oeuvre. The beauty and sophistication of the films – from “Goto, Island of Love” (Goto, I’île d’amour, 1968; his photographs of an army recruit. Photographs often appear in >

60 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 61 WALERIAN BOROWCZYK Associations in the “The Beast” reviews are in fact surreal, horror and humour exist side by side, conjoined with much sophistication.

aspects. The soldier in “School”, attacked by a stubborn fly, exposes his own ridiculousness, the grotesqueness of his automated, mechanised gestures, his fixed (much like a photograph) identity. This is even more poignant since these objects and pictures exist on the verge of extinction. “Renaissance” (1963) presents the world of objects that come back to life after a catastrophe, of ruins rebuilding anew. A simple technical solution: reversed film movement, is at the core of this film. It allows us to feel the “THE BEAST” (1975) tangibility, physicality of things and shows us how paradoxical our hope for their permanence is. Similarly to his other films (both animated and feature), there is an intentional use of music, the trumpet gains strength just before the bomb goes off. Simultaneously, these films again reveal the mechanisms of consciousness and corporeality. Maybe even more than that: they point to the mechanics as the core of existence. Like in “Le Phonograph” (1969), a big machine which manufactures associations and ideas, or in the cruel “The Games of Angels” (Les Jeux des anges, 1964), where creatures are constructed and deconstructed, manufactured and disassembled all at the same factory, created as if straight out of a nightmare. Or in the marital games of the Kabals in the films: “The Concert of Mr and Mrs Kabal” (Le Concert de M. et. Mme. Kabal, 1962) and “Mr and Mrs Kabal’s Theatre” (Théâtre de M. et Mme. Kabal, 1967), where in the latter, Mrs Kabal, hollow and mechanical, monstrous in her resemblance to a robot, invites Mr Kabal for a journey inside her body – to help her with her indigestion after she eats a butterfly. This tension between the mechanism and spirit is presented in a different way in film-catalogues: animated encyclopaedias of objects, notions and phenomena. Both in “Grandmother’s Encyclopaedia” (L’Encyclopédie de grand-maman, 1963), and “Joachim’s Dictionary” (Le Dictionnaire de Joachim, 1965) the arbitrary alphabetical order is juxtaposed with the freedom of human associations, images and concepts. Animation – originally meaning bringing to life – is therefore at the core of Borowczyk’s work, both animated (as a ), and feature. In the first instance it’s a creative, invigorating and reviving action, a breath bringing to life objects and imagines. In the second case this process of revival is connected to a creative gesture, in which the creator has control over his puppets, thus depriving them of their autonomous lives. Animation means creating a whole world, but can such worlds exist apart from the mechanics and automatics of desires and dreams? Hence, when Walerian Borowczyk says that the human in fact always does the same thing , we can interpret this statement as his testimony to a certain subject, but also a sign of his awareness of “SCHERZO INFERNAL “ (1984) repetition, of this inevitable automation. I was born with imagination , said the director (with characteristic self- > Borowczyk’s films, he is a pioneer of found footage techniques, in confidence). One can paraphrase these words as I was born to which artists define their own, or their characters’, identity repeat the creative act . Thus, there is the creative force of life on through found visual materials. one side, and the inevitability of mechanical repetition on the

The role of photography as a material for film is vital for other, the freedom of the invigorating stream of energy on one DAMIAN UL Borowczyk’s works. For surrealists, photography was an and a compulsion to repeat formulas to express it on the other. important form of expression. They saw it as both a tool for artistic expression and a way to uncover the body’s unknown IWONA KURZ “TRICKS” ON PAGE 67

62 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 63 reviews. FEATURE FILMS reviews. FEATURE FILMS

POLISH AUDIENCES HAVE BEEN WAITING FOR A MOVIE ABOUT THE KATYŃ MASSACRE TO CLEANSE AND HEAL Katyń THEM. ANDRZEJ DIRECTED BY ANDRZEJ WAJDA . WRITTEN BY WAJDA’S “KATYŃ” IS ANDRZEJ WAJDA , PRZEMYSŁAW NOWAKOWSKI , WŁADYSŁAW PASIKOWSKI ; SUCH A SYMBOLIC BASED ON THE STORY BY ANDRZEJ MULARCZYK . DIRECTORS OF PHOTOGRAPHY: GOODBYE TO THE PAWEŁ EDELMAN , MAREK RAJCA . MUSIC BY DEAD. KRZYSZTOF PENDERECKI . CAST: MAJA OSTASZEWSKA (ANNA), ARTUR ŻMIJEWSKI (ANDRZEJ), MAJA KOMOROWSKA (MARIA), WŁADYSŁAW KOWALSKI (JAN), WIKTORIA GĄSIEWSKA (NIKA, ANDRZEJ AND ANNA’S DAUGHTER), ANNA RADWAN (ELŻBIETA), ANDRZEJ CHYRA (JERZY), JAN ENGLERT (GENERAL), DANUTA STENKA (RÓŻA, GENERAL’S WIFE). PRODUCED BY AKSON STUDIO / TELEWIZJA POLSKA S .A./ TP SA . CO- FINANCING: POLISH FILM INSTITUTE . PRODUCER: MICHAŁ KWIECIŃSKI . WORLD SALES: TELEWIZJA POLSKA S .A. POLAND 2007 . 125’

WIKTORIA GĄSIEWSKA, ARTUR ŻMIJEWSKI MAJA OSTASZEWSKA ANDRZEJ CHYRA

the body of pilot Piotr is buried often treated with disrespect. reconstruction of events had to of years of fighting against juxtaposed with her husband Pathos is present in his style. under the sand by a “Staliniec” Many say Why burden your head take precedence over freedom of silence and Soviet propaganda (Jan Englert) deep in thought Abandoning pathos would mean KATYŃ bulldozer. The young people, with it, it can all be found in the vision. Wajda admitted that he that had their advocates even in before Christmas Eve at the abandoning truth. who know about the Second Internet . The awareness of such had to burden the film with Poland. During the press camp. Thanks to the abundance of PIOTR WOJCIECHOWSKI World War only from history new experience of history was some basic knowledge which conference following the film’s By far the most severe symbols and unique style, classes, will be led down the certainly one of the challenges allows the audience to premiere, we learned that Wajda limitation of creative freedom, “Katyń” crowns what the he media premiere of murdered and those, who waited path of emotions, to a place for Andrzej Wajda. comprehend represented events. took up the topic, which was experienced by Wajda, was the director himself called the “Katyń” was followed by with waning hope, and then where they have never been. When I hear the question This is why captions appear to present also in the legends of his obligation to speak to everyone, panorama of Polish fate . We can T press conference. On wanted to tell the truth about For people to become about a masterpiece, about identify places and time. own family. His mother waited even to those indifferent to and now perceive the majority of stage, in front of the screen, the culprits. Moreover, Wajda a society, and for society to greatness, from people from the The film also had to be in vain for her husband, who ignorant of Katyń. “Katyń” had Wajda’s films as subsequent there is Andrzej Wajda, the shown them the tragedy of liars become a nation, their members movie industry, I prefer to speak faithful to the myth: the mixture was killed in Katyń. One to become a poster and a tool in parts of this peculiar cinematic actors, some important crew and their accomplices, the silent must have more than just about limitations Wajda of legends and emotions that are wonders whether did the teaching history. By assuming fresco – from “Ashes”, “The members and one of the witnesses of those lies. historical knowledge. Someone encountered. The first film about still present in the tradition of grandfathers, cousins, these functions, the film became Promised Land” and “The Maids producers. In front of them For the boys and girls of has to instil in them shared Katyń had to be made with families of victims of the Katyń neighbours of hundreds of even more significant, but its of Wilko” to “”, “Katyń”, –ahuge Multikino theatre. The Warsaw media, Katyń has been emotions, admit to the school of awareness of limitations greater massacre, in Polish literary, people, whose names were duty to inform influenced its “Kanal”, “Ashes and Diamonds” first rows are occupied by young an awkward martyrological uniting experiences . This is that in any other film. It had to journalistic and artistic shown in the end credits, style. To fit both the outline of and “The Crowned-Eagle Ring”. people, who got jobs in the banality, an embarrassing especially important because be nested in a crack between traditions, in those emotional including extras, also go through national epic and the lyricism of And further – to “Man of media. Smarty-pants, addition to the familiar conflict historical knowledge is now myth and history. Therefore the contents created during dozens this valley of death? The theatre individual emotions into Marble” and “Man of Iron”. It is professionals, con men, showing with Russia over export of meat was silent before these names, a feature film format, Wajda had astonishing, how this filmmaker off their cameras, sophisticated and import of energy. And this as if standing over an open to concentrate and intensify the and painter enters into dialogue telephoto lenses, miniature tape film has splashed blood from grave. narration and, above all, allow with literature, history and the recorders. They film, take shot brains, spraying it like pink The film tells the stories of the symbols to speak. Hence, the memory of his generation. It is pictures, record, some of them smoke, throwing them between men through women – their image of the General at the moving and fascinating how even ask questions. This the grinding stones of Nazism longing, illusions, suffering, camp table deep in thought, subtly he weaves the motifs generation has learnt the truth and Stalinism. They visited the despair, faithfulness. One of the with his hands covering his face from one film to another. about the massacre and the world of their grandparents and most important challenges that to conceal tears or prayer, brings When a determined, blonde crime of the lie that followed it great-grandparents and will Wajda faced was to harmonise associations with the Christmas girl, Agnieszka (Magdalena at their history lessons. They did never be the same again. male parts, that advance the Eve in exile, painted by Jacek Cielecka), playing the part of an not have to lie about Katyń, I know that, so please leave historical plot, with the female Malczewski. This powerful, Uprising liaison officer, appears inquire about the truth or out the question: is “Katyń” ones, that embody the myth. No metaphorical scene is in “Katyń”, we have to recall the uncover it. They did not have to a masterpiece or not. And stop wonder, then, that the peculiar juxtaposed with an image of character from “Kanal” played dodge, because they were not asking: was Wajda great, or did poetics of the movie is most fully a typical bourgeois house, by Teresa Iżewska. Her fate is risking anything in this case. he fail. expressed, where a clash represented with psychological sealed: Agnieszka enters into the Surely most of them have I know where he succeeded between these two discourses subtlety. The General’s wife asks Hades of Secret Police basement thrown those murders and lies – in showing again what occurs, as when Anna (Maja for an additional place for an for refusing to lie on the into the rubbish bin of historical a masterpiece Poland is. “Katyń” Ostaszewska) says goodbye to unknown guest; a place for her tombstone’s epitaph for his commonplaces – you kill at war, will be shown in Poland in two her husband, Andrzej (Artur husband cannot serve this brother, who was killed in you lie in politics. hundred copies. It will not Żmijewski), rotamaster of the 8 function, since he can come any Katyń. The story is finished, the Some of them came to the do miracles, only refresh the Uhlans regiment, on the verge of time. A symbol is not only added meaning is now full – Agnieszka screening out of curiosity, the meaning of the waning words of the Soviet POW selection point; to another one – they are also will hear stanzas from majority, however, were sent by our anthem: [Poland] has not when, in occupied Lviv, juxtaposed. Wajda builds his plot Sophocles’ “Antigone” before her their bosses. And Wajda has perished yet, so long as we still distrustful Anna meets from such split symbols, final sacrifice. shown them what they have live . And surely many Polish a friendly Soviet officer (Sergei providing irrefutable arguments The same similarity in already known for a long time, Catholics, holding a rosary in Garmash); where general’s wife for the viewers” minds and appearance, character and fate but had to see with their own their hands, will recall the dying (Danuta Stenka), preparing subtleties seeping into our can be seen between the proud, eyes: the brutal tragedy of the hand clutching a rosary, before Christmas Eve in Cracow is collective, unconscious memory. charming, hot-headed partisan >

64 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 65 reviews. FEATURE FILMS reviews. FEATURE FILMS

ANDRZEJ JAKIMOWSKI’S “TRICKS” IS THE MOST OFTEN AWARDED POLISH FILM OF LAST YEAR. SELECTED AWARDS INCLUDE EUROPA CINEMA AWARD FOR THE BEST EUROPEAN FILM AT IFF VENICE, GRAND PRIX “GOLDEN LIONS” AND BEST CINEMATOGRAPHY AWARD AT PFF GDYNIA, SPECIAL AWARD OF JURY AT IFF MANNHEIM- HEIDELBERG, GRAND PRIX “GOLDEN PROMETHEUS” AT IFF TBILISI.

IN KOZIELSK DAMIAN UL

> “Tur” (Antoni Pawlicki) and What happened to “The Maids “Katyń. Post Mortem”. If we chronicler of the history of Polish Maciek Chełmicki from “Ashes from Wilko”? – time changed assume that the literary vision Cavalry. Today, then, no and Diamonds”. Just like Maciek them into war widows, into has to precede the movie, we filmmaker can use the lack of TRICKS – Tur-Tadek wants to live, to love Katyń mourners. The would have to wait for other literary inspiration as their and to study, but he keeps acting cavalrymen from “Lotna” have books so that other directors excuse for not making films KRZYSZTOF ŚWIREK like a resistance fighter, in the reached their end in mass graves might undertake discussion about Katyń. way the war created him, in in the East. with Wajda’s version of Katyń’s I have written about ittle Stefek, the main example by throwing a handful a leather jacket tied with a belt, I shall recall what Andrzej reconstruction and its myth. numerous limitations that the character of the new film of coins on the tracks. A station and a handgun in his knapsack. Wajda said about the Wajda himself said that there is director of “Katyń” had to L by Andrzej Jakimowski, employee, who checks the trains They both die the same dependence of “Polish school” on room for a film looking at this overcome. Finally, I have to say does not know his father. All he every morning, has to pick up all unnecessary death, killed by literary works. The lack of good crime from the vantage point of that Wajda’s new film creates has is an old grubby photograph, the coins. As long as he is under their peers in Polish uniforms, literary material was, according wartime politics, of the dealings another chapter in Polish which gives only a vague idea of the train, it cannot leave, so the but with Soviet pistols. They are to him, one of the reasons why between bloody dictators and national mythology. Wajda what his father looked like. One conversation goes on. And both brought to the screen to we waited such a long time for statesmen, of building the post- fulfils the task ascribed to day, he sees someone, who looks maybe it will bring the boy begin a dialogue with the a film about Katyń massacre. At Yaltan balance of power on artistic and intellectual elites, similar to the blurry face in the closer to the truth. contemporary young viewer. last, Andrzej Mularczyk wrote Katyń’s lies. I do not know namely to demythologise the photograph. He asks his older Andrzej Jakimowski tries to whether other films history and, at the same time, sister Elka, if this is their father, encourage our imagination, so investigating the topic of the constantly recreate myths, but she says that it is not. But the the tricks of the siblings look massacre of Polish officers in the emotional narrations, handed boy does not believe her. From more like probability theory in East will be made. The ruthless down from generation to this moment on, he constantly action, than cheap magic. He TOMASZ SAPRYK, JOANNA LISZOWSKA laws of free market will decide generation, that build our thinks about how to learn the tries to show the characters” about that. It is worth community and establish the truth, even in the most peculiar relationship with best to persuade us of its one’s yearning for an event to reminding, though, that at the meaning of our history. In roundabout way. reality. Besides, if we see this as plausibility. Above all, their happen or desire to check if one same time as Mularczyk’s and making this film, Wajda had to It would be difficult, had the being just as important as the interventions into the scheme of can rationally forecast events. It Wajda’s “Katyń” went into sacrifice some of his creative boy and his sister not been plot then “Tricks” is not events are preceded by lengthy, is equally important to sacrifice production, there was another freedom to serve certain playing a very peculiar game for dissimilar to Jakimowski’s debut, patient observations. During one something; small things, if it is script about Katyń awaiting universal values, such as some time. The siblings are “Squint Your Eyes” (2002). The of such scenes, the boy grows about something insignificant, production, and now there are faithfulness, truth and convinced that events can be main character of the latter said impatient and tells his sister and important things, when it two splendid books on this topic, community. Equally, we too enticed, that fate sometimes can that, by squinting one’s eyes, one nothing is going on here , to comes to tempting fate about apart from Mularczyk’s work. deprive ourselves of some of our be obedient, if persuaded can see that past events do not which she replies there’s always the most fundamental issues. One is a better-known, non- freedom by surrendering to his properly. They believe this can pass, they just move further something going on . You only The characters believe that they fiction “Katyń”, written by cinematic vision. We allow the be achieved by a small sacrifice, away from us, but always have to be sufficiently sensitive have to sacrifice something to American Paul Allen and myth to overwhelm us, to leave sometimes just by being remain in our thoughts. In to the signs reality provides. And gain something. Turning the published by Świat Ksiazki and a mark on our memory. I am cunning or a combination of “Tricks”, the characters squint when another plan succeeds, it is tricks from simple games into a not as well-publicised convinced, though, that by both. So, Stefek regularly shows their eyes to see not what yet another lesson for the boy, proper actions requires collection of short stories, sacrificing part of our personal up at the train station platform, happened in the past, but what fascinated by the possibility of demanding something not only “Indicement” (published by the freedom, we gain the feeling of from which the man leaves for is about to happen. tempting fate , as he himself calls from fate, but also from oneself. Catholic University of Lublin) by participation in a community, work every morning. Sometimes Jakimowski’s new concept is his favourite game. This is a significant transition, Bohdan Królikowski, a writer, bound together by sharing they talk. The boy tries to more risky than the previous The attempts at influencing which turns wishful thinking DANUTA STENKA cavalryman and distinguished emotions. I prolong these conversations, for one, but his characters do their luck are not motivated solely by into joint responsibility. >

66 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 67 reviews. FEATURE FILMS reviews. FEATURE FILMS

MIRON BIAŁOSZEWSKI, WRITER OF PROSE AND POETRY IS ONE OF THE MOST OUTSTANDING AND ORIGINAL WRITERS OF THE 20TH CENTURY, AND HIS FRIEND, BLIND POET JADWIGA STAŃCZAKOWA, ARE THE REAL CHARACTERS IN A FILM ABOUT THEIR FRIENDSHIP. THE FILM ABOUT THEIR TALE IS FAITHFUL TO THE DETAILS OF THEIR UNIQUE RELATIONSHIP.

EWELINA WALENDZIAK, DAMIAN UL KRYSTYNA JANDA, ANDRZEJ HUDZIAK

– she takes Stefek everywhere to keep an eye on him, she feels responsible for him. Elka feels A FEW PEOPLE, A LITTLE TIME like she is Stefek’s father and SEBASTIAN JAGIELSKI mother , as she herself says in one of the scenes. The fact that he screenplay for the film her fingertips. As she softly a rather moving scene, when rescue him from overwhelming they are together all the time about Miron traces the bricks, Miron describes Miron ruthlessly criticises everyday life, and he wanted to means they give each other T Białoszewski’s friend, to her what is happening in the Jadwiga’s first poetic attempts. rescue her from loneliness and support in their games against blind poet Jadwiga Stańczakowa, street. Tadeusz Sobolewski wrote Intriguingly enough, in the depression. After Miron is gone, fate. was completed 10 years ago, but in “The Child of People’s first scene in Jadwiga’s there are no more bright frames, Just as in his debut, the filming couldn’t commence then Republic of Poland”: Białoszewski apartment, we are blinded by just a dark screen. director uses a mixed cast of due to lack of money. was a kind of priest, a mediator. the sunlight from the kitchen „A Few People, A Little Time” talented non-professionals, like In the opening scene of We, his “followers”, didn’t worship window. The same happens is a film about Stańczakowa and Damian Ul and Ewelina “A Few People, A Little Time”, we him, but the world seen through later: the sun, like an intruder, Białoszewski, about Walendziak, playing the can hear Jadwiga’s voice, but him . The director of this film bursts through the cracks in the a relationship, which is siblings, with professional cannot see her, since the screen seems to see the world from the windowframes in Miron’s somehow above sexuality and actors. In his directing he tries to is black: Now / that you’re same point of view as apartment and the light reflects passion. It is also a film about harmonise the different gone / I’m twice as blind / I’ve Białoszewski. He records the off Jadwiga’s fair hair or a piece a particular perception of the registers of the two groups lost your eyes . Their story is mundane; there are no of paper. At Jadwiga’s again, world, about intense experience, – minimum expression of the shown from her point of view, it spectacular events, no thrills, yet lamps create unnatural about creativity, which gives professionals meets maximum is she who after Miron’s death, there is great attention to detail, shadows, dancing on the walls... meaning to their existence and naturalness of the amateurs. recalls the years spent with him. to every passing moment. Events This intensive brightness of about the deep need to write. The toned down expressions of But Jadwiga’s (played by do not lead towards any aim or Barański’s film spurs numerous Barański’s film is also a colourful the actors plays a big part in the Krystyna Janda, in surely one of resolution, the characters do not interpretations. Jadwiga is only depiction of the life of Warsaw’s director’s aim to convey serious her most outstanding roles) evolve, do not go through any able to observe the sharpest artistic bohemia in the 70s (with messages lightly, as if the film point of view is in fact not improbable transformations. contrast between light and famous Tuesdays at Miron’s was just about tricks. But entirely her own. She saw and They just are. This cinema is free shadow. Miron worked at night apartment). The director instead of a choice between the learned about the world, which of action, plot, suspense, it is and hated the sun, which contrasts the enthusiastic RAFAŁ GUŹNICZAK, EWELINA WALENDZIAK playful and the serious, she now tells us about, through concentrated on details and distracted and irritated him. opinions of Białoszewski’s Jakimowski offers us both at the Miron’s eyes. In one of the gestures. The suspense develops What is most important, though, followers’ with the disinterested > This idea is also noteworthy decisive moments, Stefek and Andrzej Jakimowski, the same time. I scenes, Jadwiga examines the – paradoxically – from calmness is that the light filling the frames reactions of normal people, who due to the fact that Jakimowski’s Elka, the main initiators of the writer and director of “Tricks”, texture of a monastery wall with and silence, as for example, in of Barański’s film creates an aura do not understand his creations. film is about people who were events, try to see if their small has an ability to convey serious Sztuczki of festiveness and uniqueness. By and large, Barański’s film is never spoilt. Stefek’s mother deeds made to benefit others are topics in an unpretentious and WRITTEN AND DIRECTED BY ANDRZEJ The relationship between the one of the most beautiful Polish JAKIMOWSKI . DIRECTOR OF PHOTOGRAPHY: I works as a shop assistant, so the accepted by fate. Will a bag of funny way. His films are ADAM BAJERSKI . MUSIC BY TOMASZ two poets, born out of love of art films of the last few years. boy’s older sister, who works food left in the street go to the reassuring, but not naive, he GĄSSOWSKI . CAST: DAMIAN UL (STEFEK), and based on a spiritual bond, part-time, has to take care of person who needs it most? Will portrays his characters with EWELINA WALENDZIAK (ELKA), RAFAŁ has brightened their lives and Parę osób, mały czas him. “Tricks” is about people the passers-by be provoked to warmth, but he doesn’t forget GUŹNICZAK (JERZY), TOMASZ SAPRYK made them happier. DIRECTED BY ANDRZEJ BARAŃSKI . (FATHER), IWONA FORNALCZYK (MOTHER), SCREENPLAY BY ANDRZEJ BARAŃSKI , BASED whose daily lives requires buy apples from an unlucky about irony, which spices up JOANNA LISZOWSKA (VIOLKA). PRODUCED Oversensitive and egoistic Miron ON THE BOOK BY JADWIGA STAŃCZAKOWA sacrifices, that they have to seller? The games the siblings their relations. BY ZJEDNOCZENIE needed someone who would “DZIENNIK WE DWOJE” (”A DIARY OF TWO”). make without asking for play most often are concerned The portrayal of the siblings’ ARTYSTÓW I RZEMIEŚLNIKÓW (ZAIR) / take responsibility for him, DIRECTOR OF PHOTOGRAPHY: DARIUSZ KUC . WYTWÓRNIA FILMÓW CAST: KRYSTYNA JANDA (JADWIGA), ANDRZEJ anything in return. with the happiness of others, not relationship is undoubtedly DOKUMENTALNYCH I FABULARNYCH / while the friendly and warm HUDZIAK (MIRON), IGOR PRZEGRODZKI The bargaining, maybe even their own, and the purity of positive, yet not simplistic, owing TELEWIZJA POLSKA S . A. / CANAL+ CYFROWY Jadwiga wanted to be needed, (GRANDFATHER), ARKADIUSZ DETMER LTD / OPUS FILM . CO-FINANCING: POLISH the trump card that the siblings intentions turns out to be to its realism. The girl introduces wanted to give herself to (TADEK), MONIKA OBARA (ANKA). FILM INSTITUTE . PRODUCER: ANDRZEJ PRODUCED BY TELEWIZJA POLSKA S.A. – FILM have when playing the game a benefit in the game against her brother to reading from JAKIMOWSKI . WORLD SALES: ZJEDNOCZENIE someone. They were trying to AGENCY / SKORPION ART . WORLD SALES: with fate is their selflessness. In fate. reality . She is also very caring ARTYSTÓW I RZEMIEŚLNIKÓW . KRYSTYNA TKACZ, KRYSTYNA JANDA rescue each other; she wanted to TELEWIZJA POLSKA S . A. POLAND 2005 . 104”

68 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 69 reviews. FEATURE FILMS reviews. FEATURE FILMS

DOROTA KĘDZIERZAWSKA’S FILM “TIME TO DIE” WAS MADE FOR ONE ACTRESS – THE LEGENDARY DANUTA SZAFLARSKA, THE FIRST STAR OF POSTWAR POLISH CINEMA (SHE PLAYED THE LEADING ROLE IN THE 1946 “FORBIDDEN SONGS”, Pora umierać WRITTEN & DIRECTED BY DOROTA THE FIRST FILM MADE AFTER KĘDZIERZAWSKA . DIRECTOR OF PHOTOGRAPHY: ARTHUR REINHART . THE WAR). THE NOW 90 YEAR- MUSIC BY WŁODEK PAWLIK . CAST: DANUTA SZAFLARSKA (ANIELA), OLD OUTSTANDING ACTRESS KRZYSZTOF GLOBISZ (ANIELA’S SON), STILL PERFORMS IN THE PATRYCJA SZEWCZYK (ANIELA’S GRANDDAUGHTER), KAMIL BITAU THEATRE AND FILMS. FOR HER (DOSTOEVSKY). PRODUCED BY TANDEM TAREN TO PIOTR MIKLASZEWSKI , ROLE IN KĘDZIERZAWSKA’S FILM WOJCIECH MARYAŃSKI / KID FILM SHE RECEIVED AN AWARD AT ARTHUR REINHART / TELEWIZJA POLSKA S.A. – FILM AGENCY . CO- THE 2007 POLISH FILM FESTIVAL FINANCING: POLISH FILM INSTITUTE . WORLD SALES: KID FILM ARTHUR IN GDYNIA. REINHART . POLAND 2007 . 104”

DANUTA SZAFLARSKA

the current state of the world a dramatic death for herself and which are accurate and begins the whole ritual: she puts TIME TO DIE somewhat pessimistic. on a black dress, lies on the bed A lady from a past era – that and lights candles. And suddenly BŁAŻEJ HRAPKOWICZ is how the director described the the unexpected happens: she leading character of her film in jumps out of bed and orota Kędzierzawska took aspects of old age, such as an interview for “Kino”. Indeed, reprimands herself: Time to die? a big risk by deciding to forgetfulness, living through Aniela was brought up with Are you crazy? The scene at first D make a film with really memories, even though some of a system of values no longer seems unexpected, but it is in only one character. Her Aniela is them are present in the film. current, hence her bitter and fact the logical conclusion to the a lonely woman whose only Aniela, as has already been sarcastic comments regarding film. companion is her loyal dog Fila. said, is lonely, her only reality. How is it possible not to So what does Aniela do now, No one visits her besides her son companion is her dog (a wise become bitter when you are besides talking to her dog? She and granddaughter, and even move by the director as it surrounded by arrogance, the goes outside during a storm, they do so rarely. Her sharp- introduces humour and prevents cult of money, contempt for enchanted by the heavy tongued, accurate, humorous monotony). Her son and others, whilst you have raindrops that fall on her head, observations are certainly meant granddaughter rarely visit and completely different principles: she soars into the air on her only for the ears of animals. She her neighbours show little respect for others, courtesy in garden swing, delighted as if she is therefore a true protagonist of interest in her. This is interpersonal relations, were a child – and once again a monodrama who, in order to a reflection of the times: elderly sincerity? Aniela is shocked by she asks herself: Am I crazy? No sustain the viewer’s interest, people are no longer needed. the disrespect with which her – the director seems to answer requires an outstanding And so – age is a heavy burden ? neighbours attempt to buy her for her – it is not insanity. It is personality and great directing Not necessarily, as Aniela has house, which they call a hovel . a zest for life, even greater skills. Fortunately, much dignity, is wise from Shaking her head she turns to because it is near to the end. Kędzierzawska is able make her experience and has a sarcastic her dog: Do you see what is The main theme of “Time to characters intriguing, yet do it sense of humour, thanks to happening? Waste of time Die” is presenting life as a gift. economically, and the leading which she distances herself from talking about it . Arthur Reinhart’s elegant black- lady, Danuta Szaflarska, keeps the unfriendly world or proves Forgotten values is important and-white cinematography you glued to the screen. The she won’t allow herself to be subject broached by the director. emphasises the beauty of the actress had the biggest pushed around. Hence, when By watching “Time to Die” we world that surrounds us, which responsibility – that of single- a nurse rudely says to her: Take become aware of how much we is, however, no longer handedly carrying the film, off your clothes! – Aniela are able to accept certain types universally appreciated. Aniela, conveying its meanings, responds: Kiss my ass! of behaviour as normal – even in the moment in which she conclusions and message. Such So, Kędzierzawska shows that though they are actually quite refused to die, was led by DANUTA SZAFLARSKA is the nature of a monodrama. in today’s world old age often unacceptable. Aniela’s principles a desire to experience the beauty which surrounds her. In the final good points, as Aniela says: At death. With humour and accessible and wise manner; The substance of “Time to means loneliness, but also seem so unfamiliar, when in fact of life. This desire survived scenes children from the music least I won’t be forced to drink tea lightness she presents the there are few films which show Die” basically boils down to the a sense of power and one’s they’re just the norms of within her despite everything. school, which the villa has been from a mug . Where does this portrait of a woman, for whom the life of an ordinary person actions of the main character, worth. However, that is not all, decency. When Kędzierzawska However, she is also motivated donated to, are running around comment come from? From both past and present exist but with such affection, yet without followed by Arthur Reinhart’s because the so called autumn of touches on these issues, her film by a desire to find a meaning to in it. There is uproar and chaos. beyond the grave? From heaven, the future is uncertain. Similarly philosophical pomposity and camera. What is the director life , as schematically as it may becomes sad, pointing to the life, and arrive at a calm, Meanwhile, Aniela sits on her where Reinhart’s camera takes to her protagonist, the director sentimentality, and interested in? Certainly old age. sound, is inseparably linked to climax, which summarises the dignified death, the best armchair on the veranda and us? That is something we don’t rejects a mournful tone – “Time simultaneously without an However, Kędzierzawska rejects reminiscing. However, heart of its message. conclusion to a difficult, yet dies. Just like that – without find out. to Die” is filled with a joy for life exaggerated distance. Most a stereotyped approach to this Kędzierzawska introduces this Her own son wants to deceive worthwhile existence. drama, pathos, the tearing of We know that death is in the and acceptance of all it has in importantly, there are few issue. Her portrayal of a person aspect as a secondary plot, her by selling her house without Where does Aniela find this garments; on the contrary, natural order of things; that it is store, its difficulties, and its optimistic and invigorating films, in the last phase of life is avoiding sentimentality. The her knowledge. It is a blow meaning? In a noble gesture calmly, accepting the fact that irreversibly part of nature. inevitable end. There are not which at the same time are not complex and does not end with protagonist’s memories are which almost leads to Aniela’s towards others, a gesture made her time had come to come off Dorota Kędzierzawska celebrates many films in the cinema which naive. Dorota Kędzierzawska’s depicting the most prosaic accompanied by thoughts about breakdown. She decides on despite the nature of the world the stage. Besides, death has its life in this film, but also tackles discuss difficult issues in such an film fills this gap. I

70 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 71 reviews. FEATURE FILMS reviews. FEATURE FILMS

THE PREMIERE OF LECH MAJEWSKI, DIRECTOR, “TWISTS OF FATE” PROSE WRITER, POET AND WAS PRECEDED BY PAINTER, HAS BEEN WORKING THE RUMOUR MAINLY ABROAD SINCE 1981. THAT THE FILM IS MAJEWSKI’S FILMS HAVE BEEN ABOUT SHOWN AT MANY LUSTRATION. THE INTERNATIONAL FESTIVALS, DIRECTOR HIS VIDEO-ART – IN MUSEUMS ASSERTED THAT IT AND GALLERIES AROUND THE IS NOT – AND WORLD. A SERIES OF VIDEO- RIGHTLY SO. BUT ART WORKS “BLOOD OF WHAT IS IT REALLY A POET” SERVED AS THE ABOUT? CANVAS FOR “GLASS LIPS”, WHICH IN 2007 WAS SHOWN TO THE PARTICIPANTS OF THE KAMIL MAĆKOWIAK , ANETA WIRZINKIEWICZ BERLIN FILM FESTIVAL AND has everything to make it As the action develops you THEN BECAME PART OF THE engaging, what’s more, it’s cannot help but be surprised, not VENICE BIENNALE. TWISTS OF FATE skilfully constructed. The only so much by the enigmatic nature BOŻENA JANICKA thing missing is clarity, but why of this story, but by its strange should there be any? whimsicality. Surprising, erzy Stuhr’s film received suggests a criminal story: the Let us consider again what because the issues which are technology DVD), are photograms and colourful light- the award for best student discovers that the the film is actually about. Is it skimmed over here could be the characterised by a painterly boxes, they can be put together J screenplay at the Polish Film disappearance was contrived about a student-liar? Despite material for a film of much GLASS LIPS composition of takes, a refined in countless combinations. This Festival in Gdynia. The jury were and in a parallel story the having unique qualities, the greater importance. Yet, the game of shadow and light and is a break from linear narration, most probably impressed by the missing man’s wife hesitates for story is constructed in such main idea of the screenplay is to MAGDALENA LEBECKA subtle colour used for conveying and so each screening can be way the different layers of the a suspiciously long time a manner that he mostly comes add more and more characters an often brutal and dramatic different. narrative were intertwined. whether she should inform the across as a player in a fictitious with their own partial stories. our years after the primary elements in Majewski’s plot. It is not without reason that The almost two-hour cinema However, the screenplay is more press about her husband’s game. Is it about an ex-confidant The sensationalist backbone of premiere of “The Garden of creative process. Lawrence Kardish, the curator of version of the project, entitled than just the way in which the disappearance. Meanwhile the terrified by the possibility of his the plot excludes the possibility F Earthly Delights” Lech Written in white verse in the the prestigious Museum of “Glass Lips”, was made in the story is constructed, so let’s student, looking for a story to Secret Service past being of the film being more serious. In Majewski is returning to the big screenplay for “Blood of a Poet” Modern Art in New York, where same way as “Blood of a Poet”. examine it more closely. sell to the press, searches and uncovered? This perhaps is summary, Stuhr suggests that screen. Is his new work a full (a reference to Jean Cocteau’s Majewski’s individual The plot centres around the The protagonist is a student. finally finds the man in the a more interesting story, but the there are two generations, both feature film? A visual poem? Or film) they were shot by retrospective took place, called intimate biography of a poet He earns money by writing mountains in the South of character is not. This man’s surrounded by lies and a bold artistic experiment? Yes, Majewski in the form of him the pioneer of artistic video- who has been placed in other people’s Masters Theses Poland, where he is trying to problem is not that by agreeing deceptions, though the nature of “Glass Lips” is all of these, as well separate, self-contained scenes art, comparing him to Matthew a psychiatric hospital. The film and sometimes his friends sit his hide. to co-operate with the Secret these has changed with the new as a different version of a more in the style of video-art. What Barney, the artist behind the has a strange and dreamlike exams for him. He has one However, it turns out that it is Services he became a villain generation. And maybe – I am complex project. Therefore it is distinguishes Majewski from series “Cremaster”. texture, it depicts the poet’s distinctive characteristic: he lies not a criminal story after all. The – he was already one, and his formulating this speculation worth taking a closer look at others who use video art is that DiVinites are shown on a loop painful experiences of clashes constantly, as if it did not occur actions the student undertakes co-operation was just with slight embarrassment as it how it was made. In the he creates his works through on many monitors in their with hostile surroundings, the to him that sometimes it is to find the missing man only a consequence of that fact. After is supported by a very weak beginning there was a picture, or purely filmic means. DiVinities, natural habitat, the gallery. mythologising of these easier to just tell the truth. On serve to get the viewer hooked all, he admits bad conduct, in argument – there is a glimmer of more precisely a stream of as the artist himself calls his Either simultaneously displayed experiences, traumatic his way somewhere (he earns on the story; in comparison to which his association with the hope that the world is getting intense visions from the works (a contamination of on walls as if moving frescos, or memories from his childhood, extra money by selling gossip what the student finds out from Secret Services only helped what better, if the student – with the unconscious. They are the words: divine with the digital frozen in monochromatic erotic fantasies, expectations stories to the press) he notices the man they seem insignificant. was already in motion. For support of both women concerning the future filled with another passenger hiding his The man is running away from example, to steal his friend’s – decides not to publish the fear and the sense of disabling face under his jacket. The something, he is a university girlfriend he contrived revelations he has obtained in loneliness. This is an extremely mysterious passenger professor who used to be a situation which would order not to ruin the man. Yet subjective perspective disappears, leaving his jacket a confidant of the Communist extremely compromise his the excellent and prominent –acomplex model of the psyche and a mobile phone in its pocket. Secret Services, now completely friend. But what has this story writer, outstanding actor and on which a vivisection is carried The following twist of plot broken by the unmasking that about a corrupt character, respected director would not out, uncovering – layer after awaits him. His life confession immoral even before joining the create such a multilayered layer -deeper levels of meaning. occurs whilst he is drunk, before Secret Service got to do with the narrative to say so little. He had The protagonist of “Glass an incidental, as he believes, dramatic problem of lustration? to mean something else. But Lips” is a victim of the myth of listener – the student. And it is It is difficult to tell. what – I cannot tell. I don’t the damned poet; an artist this confession that is the key to Another plot concerns an know. I punished for his talent with the film. innocent friend who many years despair and a penchant for self- There is another layer of the before was falsely accused of destruction. This type of Korowód plot concerning the professor’s being a confidant but gives up WRITTEN AND DIRECTED BY JERZY STUHR . character is the leitmotiv which old friend, whom he had falsely on trying to clear his name and DIRECTOR OF PHOTOGRAPHY: BARTEK often appears in Majewski’s accused of co-operating with the simply wants to leave his job (he PROKOPOWICZ . MUSIC BY PAWEŁ pieces. Basquiat, of the earlier SZYMAŃSKI . CAST: KAMIL MAĆKOWIAK Secret Services; then yet another lectures at a university). Is this (BARTEK), KAROLINA GORCZYCA (KASIA), film which Majewski scripted, strand concerning that friend’s the problem of the innocent KATARZYNA MACIĄG (ULA), JAN FRYCZ was similar – a black genius who daughter, unaware of who her victims of lustration, but (PROFESSOR ZDZISŁAW DĄBROWSKI), died prematurely of a heroin ALEKSANDRA KONIECZNA (IRENA, real father is, brought up by an without the drama of fighting to ZDZISŁAW’S WIFE), JERZY STUHR (RECTOR). overdose. The violent relation ex-confidant. There are plots regain their good name? The PRODUCED BY FILM STUDIO ZEBRA / POLSAT between Basquiat and his father concerning the girlfriends of the director was right: this is not TV / FILM STUDIO OTO . PRODUCER: JULIUSZ echoes the relationship of the MACHULSKI . EXECUTIVE PRODUCER: KAMIL MAĆKOWIAK, protagonist and the various a film about lustration. So what FUNDACJA FILM POLSKI , HIGH POINT . young poet and his cruel parent KATARZYNA MACIĄG romantic complications. The film is it about? POLAND 2007 . 112” in “Glass Lips”. >

72 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 73 reviews. FEATURE FILMS reviews. FEATURE FILMS

FEATURE DEBUT OF THE YOUNG DIRECTOR. THE EPONYMOUS “PRESERVE” IS THE DISTRICT OF WARSAW WHICH ACTS AS A RELIC OF PREVIOUS EPOCHS.

SONIA BOHOSIEWCZ

> Majewski’s most recent work, This deeply moving story Bohosiewicz. They are simple Słonimski, but still they follow despite the appearance that his has, to use Fromm’s language, people, refused entrance into the his rule: If you don’t know how to new project contradicts the an ‘archetypical skeleton”, that opening of an exhibition of behave, behave decently just in previous one, is linked with the allows us to access the PRESERVE photographs taken of them. But case . The residents of Stalowa previous one by the obsessively mythical roots of reality, as KRZYSZTOF KWIATKOWSKI they have moral principles that Street do not need any codes of repeated themes and self- well as put us in touch with the newcomer does not. The law, any police, they do not even quotations, tested in various the unconscious. backyard drunks will not accept need religion. But, like in an materials and genres. There are Lech Majewski, either ukasz Palkowski’s film was of warmth and humour, instead money from a man who stole anarchist utopian vision, they surprising and refreshing directly, or through the voices of the star at the last Polish of just another film about Polish photographs from a small boy have each other. references to biblical symbolism the characters of his books Ł Film Festival in Gdynia and moral decay. and passed them as his own. After watching “Preserve”, (Abraham’s fulfilled sacrifice). („Hypnotiser”), has always received three awards The main protagonist is Such a man simply does not I was thinking about Robert And of course Majewski pays argued, along the lines of – journalists’, audience’s and for a photographer, an outsider in exist for them. They’d rather Altman’s film “A Prairie Home homage to old masters, in this Wittgenstein, that nothing best debut. Palkowski has Praga, a man who seeks success have no beer than lose their Companion”. Not without case, among others, Roger van exists that has not been named. brought freshness and optimism at any cost. A reportage about an sense of morality. a reason this master of cinema, der Weyden. You can also find By making a film with an to Polish cinema. exotic district is supposed to be Doesn’t Palkowski beautify on the eve of the 21st century, references to Böcklin, Bacon, de exceptionally rich soundtrack, In People’s Poland, Praga was a stepping stone in his career. this neighbourhood? Doesn’t he recalled the climate of provincial Chavannes and even to Bruno written by Józek Skrzek, and no a different, dangerous world. But Praga, which he treats forget how degrading poverty America, filled with warmth and Schulz. dialogue, Majewski, however, The intelligentsia from instrumentally and with can get, how hard it is to live solidarity. But in Altman’s film „Blood of a Poet” and “Glass proved that most important are Śródmieście or Mokotów would superiority at first, teaches him a dignified life when there are you could sense this lifestyle was Lips” have the same ontological entities beyond words. never go to Brzeska Street, the a lesson. He does not no prospects? Maybe, but for me, coming to an end. “Preserve” is status, floating between dream Majewski’s latest exhibition, symbolic centre of the troubled immediately acclimatise to his “Preserve” is a film about the like a fairy-tale, in its idyllic and reality. The characters” in Kraków’s Starmach Gallery, district. The last decade has new surroundings and neither search for beauty. Palkowski sees atmosphere even death can be existence is defined by rituals: was a selection of excerpts from brought new life to the right- do the other residents to him. the charm in a shabby backyard, dismissed with a smile. But that a family meal at the table is “Blood of a Poet” and its title bank of Warsaw. Abandoned But gradually their mutual the lyricism in boorish songs, is also the strength of Łukasz ritualised, eating from a dog’s was borrowed from Fromm – factories are being turned into discovery turns into with such lyrics as What the fuck Palkowski’s parable. The director bowl, the act of parents dressing “Anamnesis. The forgotten trendy clubs; pricey cafes and a fascinating journey for the do I need your fucking flowers is saying that community is not their son for receiving language”... I restaurants keep sprouting, and protagonist and the viewer, for? Such material, though only a term used in sociological Communion, while simulta- new apartment buildings appear a journey through the forgotten superficially vulgar, often holds analyses, that you can still face neously tying him and parents Szklane usta in-between the old blocks of corners of Praga, but also true, great drama. the challenges of life together. WRITTEN AND DIRECTED BY LECH I performing hieratic dance around MAJEWSKI . DIRECTOR OF PHOTOGRAPHY: flats. through the world of people Palkowski shows us authentic And I believe him. the boy. The final scene, inspired LECH MAJEWSKI . MUSIC BY LECH In “Preserve” Palkowski delves living as if at the margin of people, talking without the help by Cranach’s “The Source of MAJEWSKI , JÓZEF SKRZEK . CAST: PATRYK deep into the old Praga. He isn’t history. of the internet, people who Rezerwat CZAJKA (SEBASTIAN), JOANNA LITWIN DIRECTED BY ŁUKASZ PALKOWSKI . WRITTEN Youth” has the same meaning as (MOTHER), GRZEGORZ PRZYBYŁ (FATHER), a slightly frightened tourist, The characters of “Preserve” support one another and BY ŁUKASZ PALKOWSKI , MARCIN KWAŚNY . the earlier part of Majewski’s film DOROTA LIS (DORIS). PRODUCED BY merely interested in its are local drunkards, an old experience tragedies and joys DIRECTOR OF PHOTOGRAPHY: PAWEŁ – submerging in water becomes ANGELUS SILESIUS / TELEWIZJA POLSKA S.A. quirkiness. In the closing credits, photography shop owner, together. They form SOBCZYK . MUSIC BY SEBASTIAN KRAJEWSKI . – TELEWIZJA KULTURA / SUPRA FILM / CAST: MARCIN KWAŚNY (MARCIN the mystery of resurrection. In SILESIA FILM / ATLAS SZTUKI / ARS he thanks the residents of a newsagent, and an ex- a community governed by their WILCZYŃSKI), SONIA BOHOSIEWICZ (HANKA this arrangement, where the CAMERALIS / OPUS FILM . CO-FINANCING: Konopacka and Stalowa streets , policeman turned taxi driver. own unwritten rules, handed B.), GRZEGORZ PALKOWSKI (GINGER BOY), linear logic of events does not POLISH FILM INSTITUTE . PRODUCERS: LECH and has stressed his respect for And a local classy lady , the down from generation to ARTUR DZIURMAN (ROMAN), TOMASZ MAJEWSKI , MICHAŁ TATAREK . WORLD KAROLAK (RYSIEK). PRODUCED BY PAISA exist, nothing is irreversibly SALES: ANGELUS SILESIUS . the residents in TV interviews. subject of everyone’s gossip, generation. They probably FILMS . WORLD SALES: OPEN . foregone. Not even death... POLAND 2007 . 97” This may be why his film is full dashingly played by Sonia haven’t heard of the poet Antoni POLAND 2007 . 100” MARCIN KWAŚNY

74 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 75 reviews. FEATURE FILMS reviews. DOCUMENTARIES

“GOD’S LITTLE GARDEN” AFTER MANY YEARS OF CONVEYS THE EXQUISITE PENETRATING SOCIO- ATMOSPHERE OF THE POLITICAL SUBJECTS ONE EASTERN BORDERS OF OF THE MOST POLAND. THE FILM „AS PROMINENT POLISH SNUG A BUG IN A RUG” DOCUMENTARY FILM (1998), OF WHICH “GOD’S MAKERS, MARCEL LITTLE GARDEN” IS A ŁOZIŃSKI (NOMINATED KIND OF SEQUEL, WAS FOR AN OSCAR FOR THE VERY SUCCESSFUL FILM “89MM FROM NATIONALLY AND EUROPE”), HAS STARTED INTERNATIONALLY, TO POSE QUESTIONS RECEIVING 18 AWARDS ABOUT UNIVERSAL AT FILM FESTIVALS. MATTERS.

KRZYSZTOF DZIERMA TOMASZ ŁOZIŃSKI (18 YEARS OLD) Could a fable with similar The idea for the film is, once psychological-artistic figures not be located in a village again, simple, or even simpler, experiment. GOD’S LITTLE GARDEN in some other part of Poland? No IF IT HAPPENS although it required What has been added to the –areal fable, if it is to be considerable craftsmanship in film is rather more conceptual BOŻENA JANICKA believable, has to be set TADEUSZ SZYMA its realisation. In “The Purple than real and it is for the most somewhere that has not been Rose of Cairo” we could see the part exhausted in the artistic t is on the cinema screen nowhere, it is connected to the But everyone, including after fully discovered, far, far away . he unique film “Anything And now, twelve years after imaginary exit of the characters intention, in the bold and that the viewer sometimes modern world. The Police some time, the key witness in Somewhere, where isolation Can Happen” was made having completed that from the screen to the audience, original idea and also in what I sees a certain world that inspector is sent here, because he a trail, become locals. It is worth borders on splendid isolation , T in 1995. The film, documentary with his whereas here we are witness to the viewer suspects, whilst they’d like to visit again, spend is unfit to work anywhere else noting, that the word local is even though for the Police it is dedicated to the director’s father, exceptionally photogenic six- the entrance of a character of observing Tomek’s behaviour more time in, out of curiosity, for but, nevertheless, he is sent from used (or was used until recently) just a provincial town. received several prestigious year-old son, Marcel Łoziński past events, now older, into the and the empty benches in one of pleasure, or because, if this place the central office. A suspiciously to describe their nationality by In this peculiar combination awards in Poland and abroad has decided to go back to the screen reality of many years ago. Warsaw’s parks. The difficult was deserted, the real world brown Italian investor wants to the residents of the eastern of fable and comedy, keeping and has to this day remained a issue, this time with his now Now we see him as a young metaphysical and existential around us would be as flat as build a supermarket, which border’s countryside. Locals: the a balance between the two model of reflective screen poetry. eighteen-year-old son. His most adult who – perfectly blends into questions, the ambiguous a supermarket car park. would be open all week, even priest and his housekeeper, the ingredients can be problematic, The director’s charming six-year- recent documentary is the the panoramic background of ascertainments, the childish, In the Polish collective Sundays, and, in exchange for chief of the local Police station, since the comedic elements are old son, Tomek, in the company result of this unusual attempt the park from that memorable surrealistic imagination remain imagination, such a nostalgic a small bonus, the whole his wife, daughter and father (an naturally more appealing and of a group of much older people to renew and reformulate the day – discretely observes and is the same – they only appear in a place is the Eastern region, community council votes in elderly sex maniac, by the way), more likely to dominate. comes across as a child content of his own masterpiece, surprised by the world, and also situation changed by the many which once belonged to Poland. favour of this plan. The Police the barmaid at the local bar, Another problem is that the philosopher. Tomek at times sits also intriguingly and by his younger self. He’s years gone by. And Tomek seems Now lost, yet the Eastern borders officer’s daughter returns from aware that nowadays she has to film seems too long, an on park benches and at others, philosophically entitled with a surprised by the small boy with to confirm the validity of of postwar Poland still retain Białystok with an illegitimate be sexy. Newcomer Marusia who indication that some scenes rampages through the shaded different quotation from young a scooter, who bluntly and Professor Leszek Kołakowski’s some of the old marvellous baby. But the best character of sings angelically in the church were not necessary. Journalists park lanes on a scooter. The Tomek’s declaration: If it curiously chats to the pensioners opinion that the period of true atmosphere. We believe those, the film is a repentant gangster choir, is now a local. But the were of a similar opinion about director clashes his surprising happens . Tomek then asked: resting on the park benches, happiness of a person’s life is who tell us that this is what it with recent plastic surgery on most authentic manifestation of the film “Ryś”. Its director, questions and unexpected What would happen if the Sun painfully versed by life... He asks marked by the caesura of the feels like, because we really want his face, a witness in a trial, who the term is the surrounding Stanisław Tym was statements with the real world joined the Moon? It seems awkward questions, expresses first five years. it to be so. We also believe Jacek the Police put into hiding in this landscape of the pompously offended. I hope that Jacek of transient things, marked by impossible, but... After all, paradoxical opinions and listens From among all the new shots Bromski, who has recognised provincial town. named village, King’s Bridge. Bromski is less touchy. I suffering and death. anything can happen ! to stories about passing years, in the film, the sight of the this longing for lost world with about a separation from a empty park benches, where life masterful intuition. husband or wife, about going boomed twelve years earlier, is A reawakened myth always away forever and remaining the most impressive. Tomek’s bears some danger: when U Pana Boga forever in memory. casual interlocutors reappear in fulfilling the audience’s needs w ogródku Marcel Łoziński’s new film is, the film as if they were the quite literally, sentimentality is WRITTEN AND DIRECTED BY JACEK one could say, a new version of shadows of the old characters, a difficult to avoid. But it can be BROMSKI . DIRECTOR OF the superb old one. It has been bit like ghosts that continue to avoided by the employment of PHOTOGRAPHY: RYSZARD slightly shortened, re-edited and haunt the memory, induced after LENCZEWSKI . MUSIC: HENRI comedy or fairy-tale. The scenery, SEROKA . CAST: KRZYSZTOF completed by only a few many years. However, despite social observations, the reality DZIERMA (PARISH PRIEST), minutes of new takes with the the empty benches in the park, ANDRZEJ BEYA-ZABORSKI (CHIEF will relate to a mythical world, OF POLICE), WOJCIECH SOLARZ eighteen-year-old Tomek who those people, already elderly while the plot and characters will (MARIAN CIELĘCKI), EMILIAN remains silent, watching and then, have not quite left. I allow for distance. Thus, “God’s KAMIŃSKI (JERZY BOCIAN). listening attentively and PRODUCED BY FILM STUDIO OKO Little Garden” is a fairy-tale – WYTWÓRNIA FILMÓW reacting with a twitch of the A gdyby tak się stało WRITTEN AND DIRECTED BY MARCEL comedy, which can only be told DOKUMENTALNYCH I FABULARNYC face, a gaze and a slight smile at ŁOZIŃSKI . CINEMATOGRAPHY JACEK BŁAWUT , H – VISION . CO-FINANCING: in the setting and atmosphere of the events from many years ago. ARTHUR REINHART . PRODUCED BY FILM POLISH FILM INSTITUTE . WORLD STUDIO KALEJDOSKOP / TELEWIZJA POLSKA a mythical small village near SALES: VISION FILM . He watches it as if from the S.A. – CHANNEL 1 . CO-FINANCING POLISH Białystok. POLAND 2007 . 115” inside, as if he were inside the FILM INSTITUTE . PRODUCERS WOJCIECH But “God’s Little Garden” does old film – from the point of view SZCZUDŁO , ZBIGNIEW DOMAGALSKI . POLAND not take place in the middle of ALEKSANDER SKOWROŃSKI, WOJCIECH SOLARZ TOMEK ŁOZIŃSKI (6 YEARS OLD) of an observer participating in a 2007 . 39’

76 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 77 reviews. DOCUMENTARIES reviews. DOCUMENTARIES

MANY OF OUR YOUNG DOCUMENTARY FILMMAKERS HAVE Kites GONE ABROAD TO (Latawce) LOOK FOR SUBJECTS WRITTEN AND DIRECTED BY BEATA DZIANOWICZ . CINEMATOGRAPHY: JACEK TO EXPLORE, FOR PETRYCKI . PRODUCER: KRZYSZTOF KOPCZYŃSKI . PRODUCTION COMPANIES: EXAMPLE THE EUREKA MEDIA , TELEWIZJA POLSKA S.A. INHERENT – CHANEL 2. CO-FINANCING: POLISH FILM INSTITUTE , AGENCJA SCENARIUSZOWA . DIFFERENCE OF POLAND 2007 . 52” OTHER COUNTRIES The First Day THEY’D LIKE TO (Pierwszy dzień) UNDERSTAND. WRITTEN AND DIRECTED BY MARCIN SAUTER . CINEMATOGRAPHY: MARCIN SAUTER . PRODUCER: KRZYSZTOF KOPCZYŃSKI . PRODUCTION COMPANIES: EUREKA MEDIA , TELEWIZJA POLSKA S.A. – TELEWIZJA KULTURA . CO-FINANCING: POLISH FILM INSTITUTE , THE ADAM MICKIEWICZ INSTITUTE . POLAND 2007 . 20”

“KITES” “THE FIRST DAY” winning film “The Seeds” by helping the children develop. to find people, their dreams, THE STUDY OF NOSTALGIA revealed through gestures and BELIEF IN COMMUNITY Wojciech Kasperski and two new Jacek corrects the children’s emotions, desires, and to show In Marcin Sauter’s short, the glances. Beata Dzianowicz and Marcin KITES. productions: Beata Dzianowicz’s directorial mistakes, at the same their strength – which grows as first day marks a turning point The subtly observed everyday Sauter visited distant corners of “Kites” and Marcin Sauter’s “The time allowing them great if in spite of the reality. The in the lives of the Siberian activities in the homes of the the globe and want to pass on First Day” are good examples autonomy in their individual most important, almost families observed by the protagonists, filled with the important conclusions – in – three films which are slightly projects. The method is effective. symbolical story of the director: the children are warmth of happy families are a world full of chaos, violence, THE FIRST DAY different production-wise, but We see how the students” students” films shows a boy beginning school. Here it means juxtaposed with the pompous confusion, media hype and false otherwise very similar. material improves, ceases being who, whilst chasing after a kite, parting from their families. and stilted atmosphere of the stereotypes, it is still possible to BŁAŻEJ HRAPKOWICZ manipulated and strained, stumbled upon a mine and lost School enrolment is similar to school, at the beginning of the make contact with others. THE POWER OF THE MEDIUM becomes more natural. An a leg. Now he is watching a film enlisting in the army – teachers academic year. The lesson during Although the ideological and documentary is when Globalisation seemingly Afghanistan. A school. Under incredible take shows a small about himself, soon he will fly appear in the villages, which the teacher repeats: This is religious background is a character opens up to overcomes borders, but it also the watchful eye of their teacher boy lying on the ground, only kites once again. The kites, like enquiring in which houses Russia. Our homeland comes important, it doesn’t have to be A you – says Jacek, who poses questions about the children arrange themselves in the feet of passers-by around dreams, which rise into the air, there are children, then they across as cold and unwelcoming. a barrier. In the age of runs a film course for young possibility of dialogue across a line. One of them is invited to him. The static camera is just above the cruel reality. They will take them away. They sail down In any case, the patriotic slogans intercultural friction and people from an Afghan school as cultural difference, which has recite the Koran. The camera watching. Suddenly, the poor, not be destroyed by bombs or the river to school on board are quickly ignored by Sauter, conflicts this message is crucial shown in Beata Dzianowicz’s become ever more visible. Is it observes the other students, who begging boy looks at the camera. mines. a small ship. Taken from who concentrates on the –asign of humanism, an film “Kites”. The goal of possible to reach another person are more interested in the device There is everything in his gaze Dzianowicz rejects the a familiar and safe children, who are looking out of antidote to the heartless a documentary filmmaker is to and understand their way of than in the words from Islam’s – the whole truth, life. sweeping generalisations about environment they suddenly the window, lost in their absurdities of reality. familiarise oneself with the thinking, conditioned by Holy book. Then Jacek is The director edits fragments Afghanistan, promulgated by find themselves in a very thoughts, thinking of their Polish documentary makers subject, understand it, establish a tradition which is so distant introduced to them. He will be of her own work with the scenes the media, focusing on different and unknown place. parents. Ideology, politics, the are proving that being citizens of a rapport, maybe even from our own? Can running a documentary making shot by her students. As a result individual human fates. Her film „The First Day”, unlike “Kites”, system – everything loses its the world is not enough for something like an Aristotelian a documentary become a helpful course, a perfect opportunity for her work acts as a kind of is also a reflection on the is not based on a specific meaning when we look at the them, that they desire to be friendship: pure and selfless. instrument? Can film as an art the students to get to know commentary for the films made medium itself, which here is screenplay. Instead the director faces of the people. something more – members of Then it is possible to read from form be a universal means of themselves, thanks to by the students, subsituting both the tool of the artist, as well trusts his own intuition. Sauter In the last scene the children a world-wide community, based words, gestures, mimicry – not communication? Polish artists discovering and developing their voice-over we normally expect as a platform for understanding is able to draw us into the world are playing in a meadow – they on emotional bonds. Is their only individual aspirations, have started to ask themselves own way of perceiving the to hear in documentary films. between cultures. The director which he is presenting, only are running around, picking existence a positive dreams, disappointments but such questions, have made an world. Soldiers patrolling the streets, shows that cultural and religious slightly aesthetising it. Yet, he flowers, teasing each other. And consequence of the changes the whole picture: the reality effort to show people living in Beata Dzianowicz observes a huge Coca-Cola billboard... In barriers can be pushed into the doesn’t lose sight of his still, somewhere in-between the caused by globalisation? that surrounds the protagonists, very different conditions and Jacek’s meeting with the young this chaotic and internally background through protagonists, managing to draw frolics, in the short moments of Dzianowicz and Sauter seem to which reflects on their have asked, aren’t they really people, she examines the unique unstable world, Dzianowicz, documentary, the art of getting emotions from them, even those rest they are missing home. And believe so. behaviour. just like us? The multi-award process of both teaching and together with the students, tries to know people and oneself. ever so subtle, which are we miss it with them. Such a belief is necessary. I

“KITES” “THE FIRST DAY”

78 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 79 reviews. DOCUMENTARIES reviews. DOCUMENTARIES

POLISH DOCUMENTARY THE FIRST POLISH GAY AND LESBIAN FILMMAKERS ARE NOT FILM FESTIVAL TOOK PLACE IN 2006, IN INDIFFERENT TO THE WARSAW. LAST YEAR, IT CHANGED ITS FATE OF THEIR NAME TO “SUBWERSJA”. THE FESTIVAL NEIGHBOURS – THE Lekcja białoruskiego PRESENTS NOT ONLY FEATURE FILMS WRITTEN AND DIRECTED BY CITIZENS OF THE MIROSŁAW DEMBIŃSKI . CONCERNING HOMOSEXUAL COUNTRIES WHOSE CINEMATOGRAPHY: MACIEJ RELATIONS, BUT ALSO DOCUMENTARIES. SZAFNICKI , MICHAŁ ŚLUSARCZYK . TERRITORIES WERE ONCE CO-PRODUCTION: MIROSŁAWA IN ANNA KAPLIŃSKA’S “LAKE PEARL’S “, DEMBIŃSKA , PIOTR DUDANOWICZ . PART OF THE POLISH PRODUCER: FILM STUDIO EVEREST WE MEET CHAIM, A RUSSIAN LIVING IN REPUBLIC OF NATIONS. AND TELEWIZJA POLSKA S.A. CO- JERUSALEM, WHO HAD TO COPE WITH FINANCING: POLISH FILM INSTITUTE . POLAND 2006 . 53” BEING A MEMBER OF TWO MINORITIES.

CHAIM

he makes a confession or rather does not deny that he loves A LESSON OF BELARUSIAN LAKE PEARL’S a man. Subsequently we see Chaim with his friend. It is TADEUSZ SZYMA MALWINA GROCHOWSKA a poetic image of love, nothing hen in January 1991, The author of this fascinating Foundation, past the barrier of ingenious oppositional demonstrations and putting to or the first 35 minutes of expresses his radical political more. That is all that is said after half a century of film has been interested in the militia to the main site of manifestations. Firstly, those prison the crew’s translator, the documentary, without views: I’m not for totalitarianism about gay relationships in this W the USSR depriving events taking place in Belarus Minsk’s protests. Their college organised as part of the pre- Dembiński managed to F knowing the synopsis, the or suppressing the Arabs, but film, but this is more powerful Lithuania of its independence, it for some time, maintaining close was created in 1991, on the election campaign of Aleksander do something incredible. viewer can rightfully be there should be some control over and helps to understand the was being decided if Lithuania contacts with those who oppose threshold of independence in Milinkiewicz, Lukaszenko’s main Directing from Poland, with the surprised why the film is shown this nation, so they don’t attack situation of a homosexual in would be able to regain its Lukaszenko’s regime. A real this ex-Soviet Republic, however rival. Although the authorities help of a mobile phone, and at the gay and lesbian festival. other countries. Only force can a restrictive society better than independence – in Vilnius, by manifestation of a productive co- after its delegalisation by the attempt to limit and contain supplementing the original There is no mention of sexual show these people where their numerous lengthy analyses. the television tower that had operation was the fact that in authorities it continues its these demonstrations, the footage with additional material minorities almost until the very place is . On the other hand, Hence, one scene and been raided by Russian tanks the summer of 2005 Dembiński didactic activity underground. It youngsters show their support obtained from Polish and end. The director of “Lake Chaim turns out to be deeply a couple of unfinished sentences the day before, Poland showed invited to Poland groups of is still the only school in the for Milinkiewicz in all possible Russian correspondents, he Pearl’s”, Anna Kaplińska, tells us religious, he strives for spiritual get us closer to the hero. And its support. It did it not only young Poles living in Belarus and whole country which teaches all ways, by distributing achieved a suggestive effect of about Jerusalem, shares her purity, there is even a moving they encourage some new through providing the much Belarusian teenagers from the subjects in the native independent newspapers and following the dramatic events as fascination with this scene, in which he sings Jewish questions: What is it like to be needed medical aid, but also by Minsk, and trained them in language leaflets, campaigning, carrying if from the inside, as if through multicultural city, the feeling of and Gypsy songs to a bedridden a member of two minorities? recording what was happening. filmmaking. A couple of months Unbelievable as it may seem, out street surveys and filming the eyes of the protesters, who at alienation she experienced. At old man. Has Chaim emigrated, because This was undertaken by later, in March 2006, the young in the formally independent interviews. Later, they show times were risking their lives. the forefront of her story are two But still, throughout the the double discrimination due to Wojciech Szumowski’s film students repaid Dembiński his Belarus, the teaching and their support in a different way. The vividly told and perfectly characters: a lively Dvora, who whole story, it is not clear where his two affiliations was crew. The heated report entitled favour. It took place when promotion of the native During the elections, in the composed in terms of drama, came to the kibbutz from to look for sexual identities as unbearable? He declares that he “Do not abandon us!” also Dembiński was making another language and tradition is carried midst of a snowy blizzard in “A Lesson of Belarusian” pleads Morocco and Chaim, who came complicated as the cultural ones. has found his place in the Jewish included dramatic images of the documentary in the difficult out in secret schools, as if it were freezing weather, they camp in to a sense of interpersonal from Russia. They share Dvora vividly expresses her community, even though they heroic defence of that conditions of preventive under foreign occupation. protest against Lukaszenko on solidarity, is honest and moving, a complicated national and philosophy of marriage: A wife call him a Russki ! But then there institution and the clashes censorship and persecutions of The protagonist of “A Lesson Minsk’s main square. There they especially in its final scenes. It religious identity. Chaim says: shouldn’t want to be like her is his second inconvenient between the two unequal the militia. The film was to be of Belarusian” is Franek are brutally attacked by the immediately conquered the Kosher-smosher. What is it all husband, her job is to make him identity with which he cannot groups in which fifteen about the protest raising in the Wiaczorka – the son of one of troops of the Belarusian militia. hearts of viewers and juries, for? We were Jews in the Soviet feel like a king. Then, he will come to terms. innocent civilians died and Belarus society against the the most famous leaders of the All of this is shown in the film obtaining a series of awards and Union – without religion, without make her his queen . Chaim says: A man has to be seven hundred were wounded. authoritarian government and opposition, a man who for years very quickly, immediately gained recognition in Poland but anything. Then we come here, But the fact that the film is a kind of enigma, as opposed to When in December 2004, on the forgery of the results of the has been imprisoned by the attracting the viewer’s interest also in Amsterdam, Paris, and if we don’t conform to the shown at the LGBT festival an open book. How does he Kiev’s Maidan, thousands of presidential election. officers of the regime. The boy’s and deeply moving him. The Prague, Kharkiv, Brussels and prescribed idea of Jewishness, we imposes certain interpretations. reconcile these two conflicted Juszczenko followers showed Dembiński, who was going to independent attitude has been rhythmically chanted phrase Berlin. The Moviesquad DocU of are not Jews any more. It can be The audience, unwittingly, starts identities: of a religious Jew, who their support for his presidency, Belarus, was turned back at the formed by the difficult Nothing will stifle Belarus the young jury is the second shocking for some people. I, who to wonder why the story about should raise a lot of children, endangered by an electoral border. However, the students of experiences of his childhood, remains in the viewer’s memory award in the history of this suffered for my Jewishness, am Jerusalem fits thematically to and a gay man? Does he forgery, young people from the Belarusian College of related to the constant absence for a long time. event (after Dariusz Jabłoński’s not a Jew here, but a Russki?!? this event. Isn’t Chaim’s voice reconcile them at all? Can we Poland joined them. This event Humanities were able to of his father, who was kept in Despite the many difficulties “Photographer”) to be given to Some of Chaim’s friends from a bit effeminate, by any chance? conclude that he is repressing became the topic of Miroslaw smuggle their own video arrest on many occasions. We get encountered during the making a Polish director at this most India, who consider themselves His intonation, his smiles... But his sexuality and identity in Dembiński’s documentary camera, which they had been to know Franek and his of this film, such as the brutal important international the descendants of Israel’s tribes such interpretation may turn out a wider sense? We do not find “Dwarfs Go to Ukraine”. given by the Adenauer courageous peers in a series of pacification of anti-Lukaszenko documentary film festival. I scattered hundreds of years ago, to be exaggerated, and would out. After all, Chaim guards his appear in the same episode. not even come to mind, if “Lake secrets. Some of them were so keen to Pearl’s” was watched in Chaim is above all just Chaim, prove their Jewishness that they a different context. Why then, than he is gay. We rarely see this underwent circumcision more such suspicions appear? Are we type of homosexuals in films. than once , comments the author. not witnessing here a gay hunt , Kaplińska has found and filmed The closer we get to know reminiscent of a Jew hunt ? Does an extraordinary character, she Chaim, the harder it becomes to it not come from our need to has shown a man with a sexual judge him. How do you treat pigeonhole people? orientation, that is just one of a person who, seemingly The viewer awaits an the ingredients of his casually, says: My grandpa explanation. And it comes at the personality. I fought bandits [in Ukraine] who very end. But first, there are today are regarded Ukraine’s Chaim’s declarations that he Sznirele Perele heroes. They later got wants to have many children. WRITTEN AND DIRECTED BY ANNA KAPLIŃSKA . CINEMATOGRAPHY BOGUMIŁ him, I think, he was found hung And finally, during an intimate GODFREJOW . PRODUCED BY PWSFTviT from a tree . Or when he conversation with the director, (ŁÓDŹ), HERITAGE FILMS . POLAND 2003 . 60’

80 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 81 reviews. DOCUMENTARIES reviews. DOCUMENTARIES

MARCIN KOSZAŁKA’S DOCUMENTARY “EXISTENCE” BECAME A SENSATION EVEN BEFORE IT EMERGED FROM THE PROJECT PHASE. AT FIRST IT WAS PLANNED AS A TWO-PART STORY: ABOUT ONE MAN’S CONSCIOUS DECISION TO DONATE HIS BODY TO SCIENCE, AND ABOUT WHAT HAPPENS TO THIS BODY AFTER HIS DEATH. BUT THE PROJECT EVOLVED, AND THE AUTHOR OF THIS ARTICLE TELLS US WHAT IT FINALLY BECAME.

JERZY NOWAK

some other films of his own. The the abandonment of the second project hit a serious obstacle part, which was to be shot after EXISTENCE after the death of professor the protagonist’s death, MAGDALENA LEBECKA Skawina, the head of the somehow influenced by pressure Department of Anatomy at the from the public or the he film dates back to still about an artist, who constructs , who was producers? Marcin Koszałka life photography classes at his own epitaph, who deliberately really involved in the project and replies: I was obviously listening T the Faculty of leaves a mark. very helpful. to what other people had to say, Cinematography at the I know that tackling such Marcin Koszałka says: Some but I subconsciously understood University of Silesia. Second-year a difficult, ultimate topic of the academic bodies were afraid that which way to go. People grow up student Marcin Koszałka decided taboo of death means taking the film could be harmful to the – when you’re young, you have to photograph preserved one-way ticket.. A A mistakewill medical community, but crazy ideas; with age comes cadavers at the Medical be difficult to defend. Professor Konstanty Ślusarczyk appropriate distance. I got to Academy. Back then, I was going A leak of information to the from the Silesian Medical know Mr. Nowak better and through a phase of listening to media heavily polarised public Academy was all for it from the better, so it would have been the music of Dead Can opinion. outset. Probably because inconceivable for me to wait for Dance. I was interested in the There are stupid people , said “Existence” can be an his death to continue my work. underground, in the shocking Andrzej Konic, a friend of the opportunity to promote a certain But this is not all about my photography of Joel-Peter Nowaks, who claim, that some attitude, to support a certain mental comfort. I suspect, that Wittkins, Kantor’s theatre of things should not be discussed in idea. Maybe some day, while the media would have directed death, the idea of public, but experienced in watching this documentary, their attack at me – branded me Übermarionette and mannequin , monastic seclusion. That’s not someone will consider giving a cynic, who exploits his says the director, Marcin true. Life and death are normal their body to science? ” protagonist – thus losing sight of Koszałka. human things. Professor Konstanty the deeper values. JERZY NOWAK Just then, an idea was born of The project became even Ślusarczyk: I loved the script: it Thanks to diverging from the a documentary about a person more unique due to its emphasis presented the central topic just literalness of this particular case, fluorescent tonality of the are juxtaposed with the dynamic “Existence”. He moves freely, he’s Istnienie who decides that upon death, he on collaboration between the the way I see it. It was from showing this particular scenes shot at the Silesian ones; the physiology of death agile, but the gestures seem WRITTEN AND DIRECTED BY MARCIN KOSZAŁKA . CINEMATOGRAPHY: wishes to donate his body to director and the protagonist, emphasised that the dissection body, the film shows a much Medical Academy will be goes hand-in-hand with careful and slow. This unreal MARCIN KOSZAŁKA . PRODUCERS: science. Jerzy Nowak, who was invited to co-create the scenes would be marginal to the wider perspective. It becomes neutralised. youthful vitality; the humour is vision bears soothing calmness, JERZY DZIĘGIELEWSKI , ALEKSANDER KUTELA , KRZYSZTOF RAK , ANNA a remarkable 80-year old actor, film. As a result Jerzy Nowak whole film – there would be a tribute to all those, whose Subsequent scenes streaked with despair, the terror the feeling of liberation. In SKONIECZNA , SŁAWOMIR BONIECKI , decided to participate in this, not took a long awaited and long a couple of shots in the lab, that physical remains lie in the intertwine, as in a baroque is dispelled with laughter; life a symbolic sense, the waters are JACEK KULCZYCKI . PRODUCER: HBO only artistic, experiment. postponed journey to his wouldn’t show much, instead formalin sarcophagi painting, which glows with leans towards death. intermediaries between life and POLSKA , OTO FILM . CO-FINANCING: POLISH FILM INSTITUTE . What was most controversial childhood country requiring the viewers to work that I photographed. In essence, it changing hues. The beauty of the The closing sequence: under death, they are the end and the POLAND 2007 . 69” (or as others say, most – Bohorodchany in Ukraine. things out for themselves. And is about the awareness of passing sequence in Florence contrasts the surface of intensely blue beginning of all that is earthly revolutionary and brave) about Jerzy Nowak comments on the most important issue is the time, the attitude towards life with the plain interior of the water, completely immersed, – going away becomes the project, was its structure, in this: Koszałka would constantly meaning of Mr Nowak’s life, the and death, when this death is mortuary; contemplative scenes swims a man, the hero of returning. I which the death of the be in doubt. After we shot the meaning of human existence in near. protagonist becomes the turning scene at the cemetery, general. I was especially won over In one of the scenes, Mr. point. This is how Marcin where I was praying by my by the “Rembrandtian style” of Nowak says: “If I knew the time Koszałka described the project parents’ grave, he would ask: did photography. of my death, life would become back then: “ Existence” will unfold you act, or was it genuine I also deeply care about public unbearable.” on two temporal planes – when emotion? Both! After so many discussion of such issues. But no At DARKLIGHT studio, I am the character is still alive, and years of work, you no longer one really wants to talk. Even watching the final pre-edited This issue of "KINO Polish Cinema" is also available on the Internet post factum. Then, the camera know what is acting and what is doctors are not willing to tackle version, the film is still ‘raw”, no will concentrate on the students, real. Everything we actors do, in the subject of death. This is colour corrections, no who learn anatomy on the a sense, we do to be liked by why I was enthusiastic, that at soundtrack. The shots are calm, formalin cadaver. Let me say others . last there was a chance of well thought out. After right away, though, that no During the long process of reaching the deeper meaning, processing, the images will www.polishcinema.org.pl naturalistic effects should be making “Existence”, Marcin transgressing the unhealthy become warmer, friendlier and necessary, the death won’t be Koszałka worked as sensationalism. more hopeful in tone, as the shown on screen. It is a story a cinematographer on several The most important decision director says. To avoid visual about an attempt to stop time; feature films, and he also made was made relatively late. Was clichés, even the pale greenish, More reviews of the new Polish films can be found on the web site

82 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 83 Film Organisations, Associations & Festivals In Poland FILM ASSOCIATIONS FILM FESTIVALS IN & ORGANISATIONS POLAND IN 2008 IN POLAND (SELECTED) (SELECTION)

th th shown in mainstream cinemas in student’s etude. The audiences are students, professionals and amateur Polish Film National Film National Chamber 5 Planete Doc 27 Festival Poland. The festival is accompanied also lured by numerous additional filmmakers compete for the prize of Institute Archive of Audiovisual Review of Film Debuts by numerous film debates and cultural events. Dinosaur (for the best student’s Poland, 00-071 Warsaw, Poland, 02-595 Warsaw, seminars. etude) and Jabberwocky (for the Krakowskie Przedmieście 21/23 Puławska 61 Producers World’s Festival “The Young and best animated film). Poland, 00-724 Warsaw, th th Chełmska 21, bld. 28 C of Feature Long Cinema” phone + 48 22 42 10 518 phone +48 22 845 50 74 Koszalin, June 18 – 21, 2008 8 Era New 24 Warsaw fax + 48 22 42 10 241 fax +48 22 646 53 73 Documentary th phone +48 22 840 59 01 Horizons International Film e-mail [email protected] e-mail [email protected] contact 16 International www.kipa.pl Films www.pisf.pl www.fn.org.pl Warsaw, May 9 – 18, 2008 programme office Stowarzyszenie International Festival October, 10 – 19, 2008 Film Festival Filmowców Polskich, The National Chamber of Film Festival The Polish Film Institute, established The National Film Archive is one of contact Poland, 02-595 Warsaw, Wrocław, July 17 – 27, 2008 of the Art of Audiovisual Producers, set up contact in 2005, is the newest film institute the oldest film institutions in Against Gravity Puławska 61 in 2000, continues the work of the Warsaw Film Foundation, p.o. Cinematography in Europe. Its main objective is to Poland; it came into existence as Poland, 00-023 Warsaw, phone +48 22 845 51 32 contact Association of Independent Film and box 816, PL-00-950 Warsaw 1 support Polish films at all stages of the Central Film Archive in 1955. Widok 5/7/9 fax +48 22 845 39 08 Era New Horizons IFF, c/o Gutek Plus Television Producers. It brings phone/fax +48 22 621 46 47, Łódź, November 29 their creation, from scriptwriting, The Archive’s collection is one of the phone +48 22 828 10 70 e-mail [email protected], Film, Poland, 00-153 Warsaw, together about hundred state and +48 22 621 62 68 – December 6, 2008 through production, to advertising, largest in Europe, consisting e-mail [email protected] festival office Zamenhofa 1 private firms, including Telewizja e-mail [email protected], marketing and distribution. The of 15,000 film prints, over 20,000 www.docreview.pl Centrum Kultury 105 in Koszalin phone +48 22 536 92 00 Polska S. A., Akson Studio, Opus [email protected] contact Institute also supports the most film posters, almost 38,000 film [email protected] fax +48 22 831 06 63 Film, Apple Film Production, Canal+ www.wff.pl Fundacja TUMULT important events and initiatives stills and over 25,000 volumes of The Planete Doc Review festival, www.mif.org.pl e-mail Cyfrowy, Wytwórnia Filmów Poland, 87-100 Toruń, Rynek developing and promoting Polish books. which in 2008 had its fifth edition, [email protected] Dokumentalnych i Fabularnych and Nowomiejski 28 film culture, such as festivals, presents the most interesting Since its birth in 1973 ‘The Young www.eranowehoryzonty.pl film studios, representing their th phone +48 56 621 00 19 exhibitions, publishing of books and documentaries of the last years, and Cinema” Festival in Koszalin has interests in the discussions on 4 Cent East fax +48 56 652 21 97 journals. Furthermore, part of its divided into several categories. They focused on film debuts. Until The Era New Horizons International parliamentary bills concerning e-mail budget is used to develop current The Association compete for a number of awards, recently the Koszalin event had an Film Festival is the largest festival of Market Warsaw cinema, and promoting October, 15 – 19, 2008 [email protected], and prospective filmmakers, most the most important being the international character, showing art-house films in Poland. It presents of Polish international collaboration. www.centeast.eu [email protected] importantly financing students’ films Millennium Award. There is also mainly films from East Central films from all over the world, www.camerimage.pl and film clubs. In addition, in 2007 Filmmakers a competition, named Audio Foto Europe. Nowadays, however, only attracting mainly young audiences Poland, 02-595 Warsaw, The Warsaw International Film the Institute was engaged in Doc, for the best radio documentary Polish filmmakers can compete for with more focused interests. Puławska 61 Festival is a continuation of Warsaw The International Film Festival of the establishing nine regional film programmes, press coverages and the Festival awards in categories Initially, “New Horizons” was staged Telewizja Film Week, introduced for the first Art of Cinematography Plus funds, which became a new source press photographs. The screenings such as full-length feature films, in Sanok and Cieszyn, but since 06, phone +48 22 845 51 32, time in the mid-1980s. Its aim was Camerimage, which will be of financing film production in Polska S.A. are accompanied by political short feature and documentary due to its immense popularity the +48 22 845 55-45 to present the main achievements organised this year for the 16th Poland. debates, open to the general public. films, as well as animated films. The Festival has been hosted in fax +48 22 845 39 08 – Film Agency of world’s art-house cinema. time, is a leading film event in Poland, 00-999 Warsaw, The Planete Doc Review gained the best foreign debuts are presented in Wrocław. The films are presented in e-mail [email protected] Nowadays the Festival, which Poland and the largest festival of Woronicza 17 status of a ‘cult” event in Poland. parallel, non-competitive several parallel sessions, including www.sfp.org.pl in 2008 will have its 24th edition, cinematography in the world. It programmes. One of the festival’s a competition for the main prize, privileges cinema from East Central took place for the first time in 1993 Ministry phone +48 22 547 81 67, traditions are the discussions of New Polish Films and New Polish The Association of Polish Europe. The films are divided into in Toruń and since 2000 moved to +48 22 547 67 32 th filmmakers with the viewers, Short Films. The screenings are of Culture Filmmakers, established in 1966, is a number of thematic sections. The Łódź. In the main competition full- fax +48 22 547 42 25 48 Krakow named ‘Sincerity for Sincerity” and accompanied by numerous events. the largest society of Polish Warsaw Festival also includes length films fight for an award for and National www.tvp.pl the discussions of young filmmakers filmmakers, counting about 1,400 Film Festival CentEast movie market and the best cinematography. The Kraków, May 30 – June 5, 2008 with each other. Heritage members. Its tasks include screenings promoting the work of Festival also includes a competition Telewizja Polska S.A. – Film Agency rd supporting filmmakers at different young Polish filmmakers. for best student’s etude, Plus The Department is the largest in contact 33 Polish stages of their careers, animation of Camerimage Market, as well as Poland. It was established in the office Poland, 30-102 Kraków, th of Film film culture in Poland through Film Festival workshops and lectures given by Poland, 00-071 Warsaw, mid-1990s by the board of directors Morawskiego 5, apt. 434 38 International Gdynia, September 15 organisation of film festivals, such th renowned cinematographers. Krakowskie Przedmieście 15/17 of Polish State Television as phone/fax +48 12 294 69 45 – 20, 2008 as the Polish Film Festival in 15 International Television Agency of Theatre and e-mail [email protected] and “The Young and Film” in phone +48 22 421 01 38, Television Production. Every year the www.kff.com.pl – Lubuskie Film contact Film Festival Koszalin, retrospectives and other +48 22 421 05 59 Agency produces or co-produces Organizal Office Pomorska film events. Summer “Etiuda&Anima” e-mail [email protected], more than ten full-length feature The Krakow Film Festival, which this Łagów, June 22 – 29, 2008 Fundacja Filmowa Kraków, November 14 [email protected] films, including superproductions year will have its 48th edition, is the Poland, 81-372 Gdynia, Armii – 21, 2008 www.mkidn.gov.pl like “Katyń” and low-budget films oldest film festival in Poland of contact Krajowej 24 like “Tricks”, as well as numerous world standing. Films compete for Klub Kultury Filmowej, phone +48 58 621 15 09 contact The brief of the Department of Film television series and television the award of the best Polish short Poland, 65-047 Zielona Góra, fax +48 58 621 15 83 Stowarzyszenie “Rotunda” in the Ministry of Culture and dramas. film, the best non-Polish short film Kazimierza Wielkiego 21 e-mail [email protected] Poland, 30-060 Kraków, National Heritage is to support and, since 2007, the best full-length phone/fax +48 68 325 59 84, www.festiwalgdynia.pl Oleandry 1 Polish cinema in its widest sense. Its documentary. The festival also +48 68 452 97 62 phone +48 12 633 35 38 tasks include supporting jubilees of includes many additional events, e-mail [email protected] The Polish Film Festival, which this fax +48 12 633 76 48 some prominent figures of Polish such as the Dragon Forum and the www.llf.pl year will have its 33rd edition, is e-mail [email protected] film industry, providing expert Krakow Film Market. regarded as the most important www.etiudaandanima.com opinions on applications for Lubuskie Film Summer is one of the event in the Polish filmmakers” international coproduction oldest film festivals in Poland. It calendar. The Festival presents The Festival “Etiuda&Anima” was certificates and, together with the specialises in presenting films from virtually the entire film production in established in 1994. Its aim was to Law Department, managing countries of the former Soviet bloc, Poland from the previous year. present Polish and foreign students” processes linked with such as Lithuania, Latvia, Russia, Alongside the main competition for etudes. In 2005 it was enriched by commercialisation and privatisation Slovakia, the Czech Republic and professionals, there is a competition a competition for the best animated of state film institutions. Hungary which these days are rarely for the best independent film and film. Since then the filmmakers,

84 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 85 contents IN FRENCH contents IN GERMAN

Les interviews : 56 AVEC LE RÉALISATEUR DU FILM 53 « SUR PIERRE, DES MAUVAIS Recensions des films Interviews: The Magic Tree), der Emmy- ungewöhnlichsten Figuren 76 „IM KLEINEN GARTEN GOTTES“ Preisträger wird auch zum der Geschichte Polens 6 AVEC ANDRZEJ JAKIMOWSKI, « ARQUE » (ARKA/ THE ARK) GENS ET UN LOUP » documentaires : (U PANA BOGA W OGRÓDKU/ RÉALISATEUR DU FILM « ASTUCES/ GRZEGORZ JONKAJTYS « Pierre et un loup » (Peter 6 MIT ANDRZEJ JAKIMOWSKI, DEM Kinofilm GOD'S LITTLE GARDEN) REGISSEUR DES FILMS „TRICKS” „FILMSCHULE, LEBENSSCHULE” TRICKS » « LES GENS ET LES VIRUS » and the Wolf) – lauréat du 77 « ET SI CELA S’ÉTAIT PRODUIT » 21 – eine Komödie, die am L’animation numérique faite (SZTUCZKI) 56 MIT DEM REGISSEUR DES FILMS Über Meisterschule für « LA VIE EST IMPRÉVISIBLE » prix Oscar 2008, un véritable (A GDYBY TAK SIĘ STAŁO/ IF IT „ARCHE” (ARKA/ THE ARK) GRZEGORZ östlichen Rand Polens spielt avec la technologie de pointe. „DAS LEBEN IST NICHT Filmregie von Andrzej Wajda BOŻENA JANICKA phénom ne artistique et HAPPENS) JONKAJTYS IWONA CEGIEŁKÓWNA 9 AVEC STANISŁAW JANKOWSKI, technique. VORAUSZUSEHEN” VEC JANUSZ KAMINSKI – EXCELLENT Marcel Łoziński revient a` son „MENSCHEN UND VIREN” CONSULTANT HISTORIQUE DANS LE 35 A ANDRZEJ KOŁODYŃSKI FILM « KATYŃ » OPÉRATEUR POLONAIS TRAVAILLANT À film « Tout peut arriver » 9 MIT STANISŁAW JANKOWSKI, DEM FÜR Computeranimation auf 53 „ÜBER PETER, BÖSE MENSCHEN Rezensionen HOLYWOOD (Wszystko może się GESCHICHTE ZUSTÄNDIGEN BERATER dem höchsten technischen UND DEN WOLF” der Dokumentarfilme: « KATYŃ. LA COMMUNAUTÉ DU 84 LES INSTITUTIONS, SILENCE » « AMERICAN DREAM... » przytrafić/ Anything Can BEIM FILM „KATYN” Niveau „Peter und Wolf” (Piotruś i ORGANISATIONS ET FESTIVALS Happen). „KATYN. DIE GEMEINSCHAFT 77 „A GDYBY TAK SIĘ STAŁO” CINÉMATOGRAPHIQUES EN wilk/ Peter and the Wolf) – 16 AVEC L’ACTRICE KINGA PREIS, SUR TADEUSZ SZYMA DES SCHWEIGENS” 35 MIT JANUSZ KAMIŃSKI – EINEM der Oskar-Preisträger 2008 (UND WENN ES PASSIERT/ IF IT POLOGNE HERVORRAGENDEN POLNISCHEN « QUATRE NUITS AVEC ANNE » (CZTERY Les essais : ist ein eigenartiges, nicht nur HAPPENS) NOCE Z ANNĄ/4 NIGHTS WITH ANNA), 78 « LES CERFS VOLANTS » 16 MIT DER SCHAUSPIELERIN KINGA PREIS, KAMERAMANN, DER IN HOLLYWOOD Marcel Łoziński greift auf ÜBER „VIER NÄCHTE MIT ANNA” ARBEITET künstlerisches, sondern auch NOUVEAU FILM DE JERZY 12 « LE CANAL » (KANAŁ/ KANAL) (LATAWCE/ KITES). « LA seinen Film „Alles kann SKOLIMOWSKI (CZTERY NOCE Z ANNĄ/ 4 NIGHTS WITH „AMERICAN DREAM…” technisches, Phänomen – IL Y A 50 ANS: PARADOXE DE PREMI RE JOURNÉE » ANDRZEJ KOŁODYŃSKI passieren” (Wszystko może « DEUX PERSONNES BLESSÉES » Les recensions : (PIERWSZY DZIEŃ/ THE FIRST ANNA), EINEM NEUEN FILM VON JERZY RÉCEPTION SKOLIMOWSKI się przytrafić/ Anything Can DAY) Le film légendaire de Andrzej 64 « KATYŃ » (KATYŃ) „ZWEI SCHMERZERFÜLLTE” 84 FILMINSTITUTIONEN Happen) zurück 18 AVEC ŁUKASZ PALKOWSKI, RÉALISATEUR L’Afghanistan et la Sibérie DU FILM « LA RÉSERVE NATURELLE/ Wajda a été accueilli de – La Pologne selon Andrzej Essays: -ORGANISATIONEN UND TADEUSZ SZYMA PRESERVE » mani e`re tr e`s critique juste Wajda. dans l’objectif des jeunes 18 MIT ŁUKASZ PALKOWSKI, DEM -FILMFESTIVALS, DIE IN POLEN « DÉMOLIR OU AIMER » apr e`s sa premi e`re. PIOTR WOJCIECHOWSKI documentalistes polonais. REGISSEUR DES FILMS „DER FOTOGRAF” 12 „DER KANAL” (KANAŁ/ KANAL) TÄTIG SIND 78 „DIE DRACHEN“ (LATAWCE/ TADEUSZ LUBELSKI BŁAŻEJ HRAPKOWICZ (REZERWAT/ PRESERVE) – VOR 50 JAHREN: DAS KITES). „DER ERSTE TAG“ 24 AVEC RÉALISATEUR RAFAŁ WIECZYŃSKI 67 « ASTUCES » (SZTUCZKI/ „ZERSTÖREN ODER LIEBEN” REZEPTIONSPARADOX (PIERWSZY DZIEŃ/ THE FIRST 80 « UNE LEÇON DE LA LANGUE ET L’ACTEUR QUI JOUE LE RÔLE 38 « HOMME SEUL AU MONDE » TRICKS) Der heute schon legendäre DAY) PRINCIPAL - ADAM WORONOWICZ. Jerzy Kawalerowicz « M e`re – le film polonais qui a BIÉLORUSSE » (LEKCJA 24 MIT DEM REGISSEUR RAFAŁ Afghanistan, Sibirien mit BIAŁORUSKIEGO/ A LESSON OF WIECZYŃSKI UND DEM Film von Andrzej Wajda Rezensionen: « LE P RE JERZY ÉTAIT Jeanne des Anges », « Le emporté le plus de prix dans wurde gleich nach der den Augen junger polnischer UNIQUE » BELARUSIAN) HAUPTDARSTELLER ADAM pharaon » (Matka Joanna od la saison 2007/2008. WORONOWICZ Premiere in Polen sehr 64 „KATYŃ” Dokumentaristen Le héros du film Aniołów/Joan of the Angels, KRZYSZTOF ŚWIREK Les événements dramatiques – Polen nach Andrzej Wajda BŁAŻEJ HRAPKOWICZ en Biélorussie sont filmés par „PFARRER POPIEŁUSZKO kritisiert « Popiełuszko » est un Faraon/Pharaoh) était l’un de – ES GAB NUR EINEN” TADEUSZ LUBELSKI PIOTR WOJCIECHOWSKI personnage authentique – plus grands réalisateurs 69 « QUELQUES PERSONNES, PETIT leurs participants. 80 „WEIßRUSSISCHE LEKTION” TADEUSZ SZYMA Der Filmheld von (LEKCJA BIAŁORUSKIEGO c’est un pr tre polonais, Jerzy polonais. Il est mort en 2007. TEMPS » (PARĘ OSÓB, MAŁY „Popiełuszko” ist eine 38 „DER MENSCH IST ALLEIN AUF 67 „TRICKS” (SZTUCZKI) Popiełuszko, assassiné par les IWONA KURZ CZAS/ A FEW PEOPLE, A LITTLE DER WELT” – der größte Filmpreisträger / A LESSON OF BELARUSIAN) 81 « SCHNIRELE PERELE » authentische Figur – Dramatische Ereignisse in fonctionnaires de la police TIME) polnischer Pfarrer Jerzy Jerzy Kawalerowicz („Mutter der polnischen Saison politique communiste. 29 « EN REGARDANT LA VÉRITÉ EN – film sur l’amitié (SZNIRELE PERELE/ LAKE 2007/2008 Weißrussland und ihre PEARL’S) Popiełuszko, der von Johanna von den Engel” FACE » exceptionnelle entre deux (Matka Joanna od Aniołów), KRZYSZTOF ŚWIREK Teilnehmer 27 AVEC LE RÉALISATEUR DU FILM « PETITE Le héros du film est un Beamten des TADEUSZ SZYMA La position spéciale dans les po e`tes polonais, Miron kommunistischen „Der Pharao” (Faraon)) war MOSCOU » (MAŁA MOSKWA/ LITTLE films documentaires Białoszewski et Jadwiga habitant d’Israël, 69 „EIN PAAR LEUTE, KLEINE ZEIT” MOSCOW), WALDEMAR KRZYSTEK. Sicherheitsdienstes ermordet einer der hervorragendsten polonais a été accordée Stańczakowa qui était homosexuel, qui a émigré de (PARĘ OSÓB, MAŁY CZAS/ A FEW 81 „SCHNIRELE PERELE” (SZNIRELE « QUAND L’AMOUR ÉTAIT UN Russie. wurde polnischen Filmregisseuren, a` Marcel Łozinski dans les aveugle. starb 2007. PEOPLE, A LITTLE TIME) PERELE/ LAKE PEARL’S) CRIME » SEBASTIAN JAGIELSKI MALWINA GROCHOWSKA – über ungewöhnliche Der Filmheld ist ein années 70 et il maintien 27 MIT DEM REGISSEUR DES FILMS IWONA KURZ C’est un film sur l’amour Freundschaft zweier Bewohner Israels, toujours cette position. 82 « L’EXISTENCE » (ISTNIENIE/ „KLEINES MOSKAU” (MAŁA MOSKWA/ entre une femme russe et un TADEUSZ SOBOLEWSKI 70 « C’EST LE TEMPS DE MOURIR » LITTLE MOSCOW) WALDEMAR KRZYSTEK „WENN MAN DER WAHRHEIT polnischen Dichter, Miron Homosexuelle, Immigrant EXISTENCE) 29 Polonais dans les temps de (PORA UMIERAĆ/ TIME TO DIE) „ALS LIEBE EIN VERBRECHEN INS GESICHT SCHAUT” Białoszewski und der aus Russland stationnement de l’armée 50 « AU LIEU DU KITSCH » – avec Danuta Szaflarska, L’histoire d’un document blinden Jadwiga MALWINA GROCHOWSKA exceptionnel sur un WAR” Seine besondere Position im soviétique en Pologne. Le cinéma d’animation se actrice polonaise légendaire, Liebe zwischen einer Russin polnischen Dokumentarfilm Stańczakowa développe dynamiquement dans le rôle principal. document qui veut offrir son SEBASTIAN JAGIELSKI 82 „DAS DASEIN” (ISTNIENIE/ 32 AVEC LA RÉALISATRICE KASIA ADAMIK corps la science apr e`s sa und einem Polen in der Zeit, hat Marcel Łoziński in den en Pologne et poss de déj a` BŁAŻEJ HRAPKOWICZ 70er Jahren erreicht und bis EXISTENCE) « LES EXCLUS » mort. als die sowjetischen Truppen Die Geschichte eines 60 succ e`s artistiques. in Polen stationierten heute bewahrt 70 „ZEIT ZU STERBEN” (PORA Sur « Le stade des sans-abri” ADRIANA PRODEUS 72 « LE CORT GE » (KOROWÓD/ MAGDALENA LEBECKA UMIERAĆ/ TIME TO DIE) außergewöhnlichen (Boisko bezdomnych/ The TADEUSZ SOBOLEWSKI TWISTS OF FATE) 32 MIT DER REGISSEURIN KASIA ADAMIK – mit Danuta Szaflarska, Dokumentarfilms über einen Offsiders), film sur les SDF 59 « RANIMER L’ESPRIT, METTRE – A` la recherche de la vérité „DIE AUSGESCHLOSSENEN” 50 „STATT KITSCH” einer legendären polnischen Menschen, der will, dass sein qui attend sa premi e`re. LE CORPS EN MOUVEMENT » sur les informateurs de la über „The Offsiders ” (Boisko Das sich dynamisch Schauspielerin als Körper nach dem Tod zu Le cinéma d’animation et police politique communiste Les feuilletons : wissenschaftlichen Zwecken AVEC LA RÉALISATRICE MAŁGORZATA bezdomnych), den auf die entwickelnde Trickfilmkino Hauptdarstellerin 41 BŁAŻEJ HRAPKOWICZ SZUMOWSKA « le cinéma d’érotisme a` l’époque du totalitarisme. 89 LES DÉCOUPES: Premiere wartenden Film erfreut sich der artistischen dient BOŻENA JANICKA MAGDALENA LEBECKA « PRESQUE UN artistique » se rejoignent « LA FILTRATION » über die Obdachlosen Erfolge schon seit 60 Jahren dans l’art de Walerian BOŻENA JANICKA ADRIANA PRODEUS 72 „DER REIGEN” (KOROWÓD/ PSYCHODRAME » 73 « LA BOUCHE EN VERRE » TWISTS OF FATE) « 33 sc nes de la vie » (33 Borowczyk. 41 MIT DER REGISSEURIN MAŁGORZATA IWONA KURZ (SZKLANE USTA/ GLASS LIPS) SZUMOWSKA – das Entdecken der sceny z życia/ 33 Scenes from 90 AVEC SES PROPRES MOTS: 59 „DEN GEIST BELEBEN, DEN – une expérience artistique « LE RAPPORT DES SERVICES „FAST EIN PSYCHODRAMA” KÖRPER IN BEWEGUNG Wahrheit über Informanten Kolumnen: Life), coproduction polonaise de Lech Majewski, peintre et „33 Szenen aus dem Leben” des Sicherheitsdienstes in et allemande avec Julia SECRETS » SETZEN” po e`te. TADEUSZ SOBOLEWSKI (33 Scenes from Life), die der Zeit des 89 DIE SCHNIPSEL: „FILTRATION” Jentsch dans le rôle principal. Les Informations, Trickfilmkino und „Erotik- MAGDALENA LEBECKA deutsch-polnische Kunstkino” verband in kommunistischen Regimes BOŻENA JANICKA le reportage : Koproduktion mit Julia seinem Schaffen Walerian BOŻENA JANICKA 44 AVEC DOROTA KĘDZIERZAWSKA ET 74 « LA RÉSERVE NATURELLE» 90 MI EIGENEN WORTEN: ARTHUR REINHART, RÉALISATRICE ET Jentsch als Hauptdarstellerin Borowczyk OPÉRATEUR DU FILM « C’EST LE TEMPS 46 « KRZYSZTOF ZANUSSI SUR LA (REZERWAT/ PRESERVE) IWONA KURZ 73 „GLÄSERNER MUND” (SZKLANE „EIN BERICHT DES DE MOURIR/ TIME TO DIE » REINE EDWIGE » – film sur un quartier 44 MIT DOROTA KĘDZIERZAWSKA UND USTA/ GLASS LIPS) GEHEIMDIENSTES” « UNE DAME DE L’ANCIENNE Le personnage principal de périphérique de Varsovie ARTHUR REINHART, DER REGISSEURIN – ein künstlerisches TADEUSZ SOBOLEWSKI ÉPOQUE » ce film est la reine Edwige, dans laquelle le temps UND DEM KAMERAMANN DES FILMS Experiment des Malers und semble de s’arr e^ter. „ZEIT ZU STERBEN” (PORA UMIERAĆ/ Dichters Lech Majewski couronnée en 1384, qui était TIME TO DIE) Informationen, 48 AVEC LE RÉALISATEUR ANDRZEJ KRZYSZTOF KWIATKOWSKI MAGDALENA LEBECKA une figure exceptionnelle „EINE DAME AUS DER ALTEN MALESZKA dans l’histoire de Pologne. Reportage: « PAR LA LANGUEUR AUPR S 76 « DANS LE JARDIN DU DIEU” (U EPOCHE” 74 „DER FOTOGRAF” (REZERWAT/ DU MIRACULEUX» 21 « L’ÉCOLE DU FILM, L’ÉCOLE DE PANA BOGA W OGRÓDKU/ 46 „KRZYSZTOF ZANUSSI ÜBER DIE PRESERVE) GOD’S LITTLE GARDEN) 48 MIT DEM REGISSEUR ANDRZEJ La série télévisée « Arbre LA VIE » MALESZKA KÖNIGIN HEDWIG – ein Film über das magique » (Magiczne Sur l’École des – comédie dont l’action est „AUS SEHNSUCHT NACH DEM Die Heldin des geplanten Warschauer beleumundete drzewo/ The Magic Tree), qui Perfectionnement de située pr e`s de la fronti e`re WUNDERBAREN” Films, die 1384 gekrönte Viertel, in dem die Zeit quasi a emportw Emmy Award, Réalisation de Films d’Est polonaise. polnische Königin Hedwig stehen geblieben ist BOŻENA JANICKA Fernsehserie „Der magische KRZYSZTOF KWIATKOWSKI aura sa version cinématique. d’Andrzej Wajda. Baum” (Magiczne drzewo/ war eine der IWONA CEGIEŁKÓWNA

86 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 87 contents IN SPANISH outtakes BOŻENA JANICKA

Entrevistas: 56 AL DIRECTOR DE LA PELÍCULA “LA ARCA” 53 “DE PETER, LA GENTE MALA Resenas de documentales: A ANDRZEJ JAKIMOWSKI, EL DIRECTOR (ARKA/ THE ARK) GRZEGORZ Y EL LOBO” Filtering 6 DE LA PELÍCULA “TRICKS” (SZTUCZKI) JONKAJTYS “Peter y el lobo” (Peter and 77 “Y SI PASARA ASÍ” (A GDYBY “LA VIDA ES IMPREVISIBLE” “LOS HOMBRES Y LOS VIRUS” the Wolf), Premio Oscar 2008, TAK SIĘ STAŁO/ IF IT HAPPENS) Animación digital del nivel un fenómeno peculiar no Marcel Lozinski regresa a su 9 A STANISŁAW JANKOWSKI, EL técnico más alto sólo artístico sino también película “Todo puede pasar” CONSULTOR HISTÓRICO DE LA PELÍCULA técnico (Wszystko może się 5 A JANUSZ KAMIŃSKI, EL RECONOCIDO “KATYŃ” 3 ANDRZEJ KOŁODYŃSKI przytrafić/ Anything Can “KATYŃ. COMUNIDAD DEL DIRECTOR DE FOTOGRAFÍA POLACO QUE Happen) TRABAJA EN HOLLYWOOD SILENCIO” INSTITUCIONES, ENTIDADES Y TADEUSZ SZYMA “AMERICAN DREAM...” 84 ensorship in cinema, the political kind, that H.? I don’t think so. After all an eighteen-year-old FESTIVALES A LA ACTRIZ KINGA PREIS SOBRE existed years ago, is now a bygone. But is (or at least should be) smarter than a twelve- 16 CINEMATOGRÁFICAS DE 78 “COMETAS” (LATAWCE/ KITES). “CUATRO NOCHES CON ANA” (CZTERY “ EL PRIMER DÍA” (PIERWSZY Hays Code (USA, 1930), which concerned year-old. When they see a question in a school NOCE Z ANNĄ/4 NIGHTS WITH ANNA), Ensayos: POLONIA C DZIEŃ/ THE FIRST DAY) LA NUEVA PELÍCULA DE JERZY moral issues, still remains in cinema’s collective test, they will probably give the right, textbook “KINO Polish SKOLIMOWSKI “KANAL”, HACE 50 ANOS: LA Afganistán y Siberia en los memory. Detailed instructions, e. g. that the outer answer. Their perception of this German 12 objetivos de jóvenes “LOS DOS LACERADOS” PARADOJA DEL RECIBIMIENTO side of a woman’s thigh can be shown, while the politician, creator and dictator of the Third Reich Después de su estreno la hoy Resenas: documentalistas polacos BŁAŻEJ HRAPKOWICZ inner side cannot, are recalled as anecdotes. One (taken from the encyclopaedia entry) is shaped by Cinema” is a 18 A ŁUKASZ PALKOWSKI, EL DIRECTOR DE día legendaria película de LA PELÍCULA “RESERVA NATURAL” 64 “KATYN” thing Hays cannot be accused of, however, is something else altogether: the fact, that Adolf H. (REZERWAT/ PRESERVE) Andrzej Wajda fue recibida – Polonia según Wajda 80 “LA CLASE DE BIELORRUSO” “DERRUMBAR en Polonia de uma manera PIOTR WOJCIECHOWSKI (LEKCJA BIALORUSKIEGO/ a lack of imagination. lived and operated in the first half of the last special issue of O ENAMORARSE” muy crítica A LESSON OF BELARUSIAN) Besides, the problem of expanding the borders century. Their parents, and even grandparents, TADEUSZ LUBELSKI 67 “TRICKS” (SZTUCZKI) Los acontecimientos of what’s admissible on screen sex-wise, has not had not yet been born back then. It’s a deep well KINO monthly 24 AL DIRECTOR DE LA PELÍCULA, RAFAŁ – la película polaca más dramáticos en Bielorrusia WIECZYŃSKI, Y AL ACTOR PRINCIPAL, 38 “UN HOMBRE SOLO EN EL galardonada en la yet been resolved. Difficult issues are best sorted of time. But not as deep, as we might think, after MUNDO” filmados por sus ADAM WORONOWICZ temporada 2007/2008 participantes out in the famously precise German. In this all, the generation that knows who Adolf Hitler magazine “EL PADRE JORGE FUE SÓLO Jerzy Kawalerowicz (“Madre KRZYSZTOF ŚWIREK TADEUSZ SZYMA language, it would look like this: Forschungen zur really was is not yet gone. Juana de los Ángeles”, UNO” Entwicklungsgeschichte der geschlechtlichen But there is one thing, that the high school El protagonista de la película “Faraón”) fue considerado 69 “POCA GENTE, EL TIEMPO 81 “SZNIRELE PERELE” (LAKE published in “Popiełuszko” es un uno de los más destacados JOVEN” (PARĘ OSÓB, MAŁY PEARL’S) Moral .Iwon’t deny, that I owe this sentence to girls learned from the comedy about Adolf H. personaje real: el sacerdote cineastas polacos. Murió en CZAS/ A FEW PEOPLE, A LITTLE El protagonista de la película “The Good Soldier Svejk” by Jaroslav Hasek. And if – Adolf Hitler, if we abandon the trick with the polaco, Jerzy Popiełuszko, 2007 TIME) es un inmigrante ruso, a viewer sometimes exclaims I wish censorship initial in the Polish title – that everything can be Polish since IWONA KURZ – la crónica de una amistad asesinado por los homosexual, que vive en was back!, you know that they are just infuriated funny, that there’s no border, that we cannot funcionarios de la policía insólita entre dos poetas “ACEPTANDO LA REALIDAD” Israel secreta polaca 29 polacos: Miron Bialoszewski MALWINA GROCHOWSKA by an awful combination of violence and sex they trespass. Even the final border, thinner than 1966. Marcel Lozinski ganó su y la invidente Jadwiga see. Only some dinosaur may demand the return a hair . ( What border do you need? – Marlow asked excepcional posición en el 27 AL DIRECTOR DE LA PELÍCULA “LA Stańczakowa 82 “LA EXISTENCIA” (ISTNIENIE/ of real censorship. Besides, they do not know, that Jim in Joseph Conrad’s “Lord Jim”). This film about PEQUENA MOSCÚ” (MAŁA MOSKWA/ mundo del cine documental SEBASTIAN JAGIELSKI EXISTENCE) LITTLE MOSCOW), WALDEMAR polaco en los anos 70 y la Historia de un documental there is a new, safer term, namely – filtration. Adolf Hitler, who poisoned himself in an KRZYSTEK mantiene hasta hoy día. 70 “ES TIEMPO DE MORIR” (PORA excepcional sobre un I have seen Dani Levy’s film “Mein Führer – Die underground bunker under the Reich’s To subscribe “CUANDO EL AMOR ERA UN TADEUSZ SOBOLEWSKI UMIERAĆ/ TIME TO DIE) hombre que quiere que wirklich wahrste Wahrheit über Adolf Hitler!” in Chancellor’s Office in April 1945, thus joining fifty CRIMEN” – con Danuta Szaflarska, la después de su muerte su El amor entre una rusa y un 50 “EN VEZ DEL KITSCH” legendaria actriz polaca en el one of Warsaw’s cinemas, on the last day of its millions of his victims (the total number of killed polaco en los tiempos La cinematografía animada cuerpo sirva para fines KINO monthly papel principal científicos screening. There were not more than five of us in in World War II, which is not mentioned in this cuando las tropas soviéticas en Polonia se desarolla en BŁAŻEJ HRAPKOWICZ MAGDALENA LEBECKA the auditorium, when – surprisingly – a school film – a comedy after all), this film once more se encontraban estacionadas una manera muy dinámica y group entered. For some reason or other, they recalls a question that became important in our in Polish send en Polonia en 60 anos de su historia ya 72 “EL CORRO” (KOROWÓD/ obtuvo numerosos éxitos TWISTS OF FATE) were all girls, or rather grown-up women, century: a question of what is and what is not 32 A LA DIRECTORA KASIA ADAMIK artísticos – descubrir la verdad sobre Folletines: probably senior grade. By taking them to the permissible in arts. Censorship fights all that is us an e-mail to: “LOS EXCLUIDOS” ADRIANA PRODEUS los confidentes de la policía cinema, their teacher (history professor?), brave and thoughtful, but it does not exist any Sobre “La cancha de los sin secreta polaca en los tiempos 89 TOMAS DESCARTADAS: techo” (Boisko bezdomnych/ 59 “ANIMAR EL ALMA, PONER EL del régimen comunista “FILTRADO” probably thought that they would learn a thing or more in civilised countries. But how is it different [email protected] The Offsiders), una película CUERPO EN MARCHA” BOŻENA JANICKA BOŻENA JANICKA two about Hitler, even if, by virtue of the rules of from the most intangible form of it – self- sobre los sin techo que está a En su obra cinematográfica comedy, the film was going to be funny. censorship, self-control? How do we tell the two 90 CON SUS PROPIAS PALABRAS: la espera de ser estrenada Walerian Borowczyk unía el 73 “BOCA DE CRISTAL” (SZKLANE But the Hitler they saw on the screen wasn’t apart? What is the relation of the creator’s right to cine animado con el USTA/ GLASS LIPS) “INFORME DE LOS SERVICIOS 41 A LA DIRECTORA MAŁGORZATA “artístico cine erótico” – un experimento artístico SECRETOS” funny at all. Surrounded by an entourage of follow their own concept and the obligation to SZUMOWSKA IWONA KURZ del pintor y poeta Lech TADEUSZ SOBOLEWSKI clowns, throwing their hands in the air with come to their senses? Don’t certain situations, Annual subscription rates “CASI UN PSICODRAMA” Majewski a throaty “Heil Hitler!” (these being the only such as “Mein Führer: The Truly Truest Truth “33 escenas de una vida” (33 MAGDALENA LEBECKA (shipping is included in sceny z życia/ 33 Scenes from Información, moments that the girls laughed, by the way), he About Adolf Hitler” require some external the price) Life), una coproducción reportaje: 74 “RESERVA NATURAL” was an interesting and likable guy. A bit nervous, authority to do it? polaco-alemana con Julia (REZERWAT/ PRESERVE) but what can you do with a troubled childhood With some hesitation and apologizing for its Jentsch en el papel principal 46 “KRZYSZTOF ZANUSSI SOBRE LA – una película sobre un like this and a father, that beats you. A sensitive crudeness, I want to quote a description of an Standard mail REINA EDUVIGES” barrio periférico de Varsovia 44 A DOROTA KĘDZIERZAWSKA, LA donde el tiempo parece guy, who suffers from severe depression, when effective substitute for coming to one’s senses, DIRECTORA, Y ARTHUR REINHART, EL Reina Eduviges, la (all countries) – 44 € DIRECTOR DE FOTOGRAFÍA DE LA protagonista de la película haberse detenido something doesn’t go as intended. A guy with taken from “Harry Potter and the Goblet of Fire”. KRZYSZTOF KWIATKOWSKI PELÍCULA “ ES TIEMPO DE MORIR”( presentada, coronada en el character, trying to keep his face among the It was used on Mostafa, one the judges at Air mail to Europe (incl. PORA UMIERAĆ/ TIME TO DIE ) ano 1384, fue una de las 76 “EN EL HUERTECILLO DEL clowns. A humane chap, who befriends and truly quidditch World Championship, who suddenly Russia and Israel) – 49 € “LA DAMA DE UNA ÉPOCA personajes más likes a Jewish professor. Chivalric: he gets started clowning around, because he had been REMOTA” excepcionales de la historia SENOR” (U PANA BOGA W Air mail to North America de Polonia OGRÓDKU/ GOD’S LITTLE smacked by the other guy, but he gets up and enchanted by the veelas. On the commentator’s 48 AL DIRECTOR ANDRZEJ MALESZKA GARDEN) doesn’t return the blow, since he was the one who request Somebody slap the referee!, a mediwizard and Africa – 60,50 € – una comedia que se “POR NOSTALGIA A LO 21 “ESCUELA DE provoked it. Had the kids in the cinema been came tearing across the field… and, how can one MARAVILLOSO” desarrolla en los confines del Air mail to Latin America CINEMATOGRAFÍA, younger, I would have surely heard them say even recall such quotations!, kicked Mostafa hard Serie de televisión “El árbol ESCUELA DE LA VIDA” este de Polonia and Asia – 71,50 € mágico” (Magiczne drzewo/ Sobre la Escuela Maestra de BOŻENA JANICKA afterwards: this Hitler guy was cool . in his bottom. Mostafa seemed to come to himself . The Magic Tree), la ganadora Dirección Cinematográfica Can the senior grade see “Mein Fuhrer” as That is awfully naughty, what a disgrace. Should Air mail to Australia and de Premio Emmy, tendrá la de Andrzej Wajda a supplement of their knowledge of Adolf have used filtration. But sometimes you can’t. Oceania – 93,50 € versión de cine IWONA CEGIEŁKÓWNA

88 KINO POLISH CINEMA 2008 POLISH CINEMA 2008 KINO 89 "KINO" IS A MONTHLY DEVOTED TO CINEMA AND FILM EDUCATION ISSN 0023-11673 in my own words This issue is financially supported by the Polish Film Institute. TADEUSZ SOBOLEWSKI

PUBLISHER KINO Foundation PUBLISHING MANAGER A secret service Jacek Cegiełka OFFICE MANAGER Grażyna Ika Tatarska PUBLISHING OFFICE: 00-724 Warszawa, report Chełmska 21 tel. (48 22) 841-68-43, tel./fax (48 22) 841-90-57 e-mail: [email protected] www.kino.org.pl EDITORIAL Andrzej Kołodyński Editor-in-chief Bożena Janicka Editor of the Polish section Konrad J. Zarębski Sub-editor Jerzy Płażewski Magda Sendecka efore the Independence Day of 11 I knew Maggie. She survived the Uprising. CONTRIBUTING EDITORS November I received a text message: We invite A charming lady. She died recently. She was Jacek’s Grażyna Arata, Iwona you to join our spontaneous singing party, mother-in-law... Cegiełkówna, Alicja Helman, B Tomasz Jopkiewicz, Maria patriotic and otherwise . We have been meeting on It’s time for different songs. The ones I’ve been Kornatowska, Magdalena Lebecka, Tadeusz Lubelski, bleak November evenings for a few years now, at our waiting for; the most worn out, though somehow Maria Oleksiewicz, Jan Olszewski, young writer friend’s apartment in Powiśle. He is romantic and waned. They’re waiting to be dusted off. Tadeusz Sobolewski, Tadeusz Szczepański, Tadeusz Szyma, known for his satirical novels, in which he shows how Anna, whose family is a spectrum of celebrated figures Piotr Śmiałowski the jingoistic, romantic-nationalistic ideal doesn’t suit – scientists, writers, Catholics – says capriciously: I’d DESIGN Poles today. Is our national masochism still in vogue, like something left-wing now, we could find some of Luxsfera Design: Justyna Wróblewska i Kasper just as during the time of “Polish school” and young that in our family as well . And immediately we sing at Skirgajłło-Krajewski Skolimowski? the top of our voices the glorious 1905 www.luxsfera.pl But when we meet on Independence Day, we sing “Warszawianka”, and then: Our blood has long been ART DIRECTION Maciej Sawicki patriotic songs. Half-jokingly, half-serious, as if nothing spilt by the executioners/ The bitter tears of the people TECHNICAL EDITOR had happened. This is somehow reminiscent of the old keep flowing/ The day of payback will come/ And we Joanna Fiszer Solidarity days, something carnival-like about it. It will be the judges!... PRINTED BY EBE Lidia Mazur i S-ka Printing wouldn’t be as fun, had it not been for the presence of I look at the people. If we turned back time and let Company young people. The spectrum of generations – from the a secret police agent in, he would have some splendid 05-510 Konstancin-Jeziorna Ciechanowska 3 insurgent great-grandfather in the photograph, to us, material for a report: this is the daughter of the tel. (48 22) 868 04 54 who remember the Martial Law, to the high school longest-imprisoned anti-communist activist in People’s tel./fax (48 22) 868 29 58 email: [email protected] students, who go to India on student exchanges. Poland; this one – the son of communist minister; EDITOR OF "KINO POLISH Greta, my goddaughter, will play violin. Stefan, with these ones are members of the Jewish community; her CINEMA" dreadlocks, picks up his electric guitar. There’s bigos father was the greatest avant-garde poet; his mother Bożena Janicka heating up in the kitchen. A table with salads awaits in –alove poet, the forerunner of feminism; her PRODUCTION EDITOR Grażyna Ika Tatarska the other room. We drink cold vodka with Coke to grandma – a translator of Russian poetry; she runs EDITOR OF THE ENGLISH VERSION warm up. There’s a sheaf of worn, colourful ears of a painting education foundation; they are therapists. Kamila Rymajdo grain, all white and red, just as the ribbons pinned to They are all creative and prosperous. They don’t belong our lapels and sweaters. Why not go all the way? to any party, any church, any group – they comprise TRANSLATION American style, full on. When we first performed the a class, which in the 20th century has been named the mLingua Centrum Tłumaczeń ceremony, we were a little embarrassed, wondering intelligentsia. They don’t make up a whole, just as Stary Rynek 100 61-773 Poznań what the neighbours would think. But it caught on. We “Solidarity” didn’t either. www.mLingua.pl sing at the top of our voices, songbooks in hand. First We live in times of ransacked and impoverished PHOTOGRAPHS: Adam Bajerski, Piotr “Rota”, then “The First Brigade”, “The Rifles awareness, of a deformed, single-sided view of the Bujnowicz/Fabryka Obrazu, Natalia March”. I listen to them, as if it were the first time. past, appropriated by political parties, groups or the Chojna/PISF, Focus Producers, Bogumił Godfrejow, Michał Then, it’s time for Warsaw Uprising songs. Anna media. There’s no common ground anymore. We will Dobrowolski, Witold Krassowski, Lech Majewski, Mariusz Makowski, sings “Nurse Maggie”. The first stanza sounds like part ways in a moment. Maybe we will meet at some Mateusz Ożyński, Renata Pajchel, a humorous, playful, couplet: She was a modest lady festival at Kinoteka? Whilst watching Russian, Asian Robert Pałka, Magdalena Pawłowicz, Ewa Piaskowska/Skopia before the action/ Who lived in the Rose Alley/... But in films, maybe documentaries? At a “Gazeta Wyborcza” Film, A. Piotrowska, Remigiusz Przełożny, Monika the Uprising – “Nurse Maggie” / She’s the most beautiful party? At the Psychoanalytical Society? At the Centre Skrzypczak/Fabryka Obrazu, Michał Stajniak, Mariusz Trzciński, Anna one I know / At the front until the end / She brings us of Modern Art? At the theatre? At a book launch? By Włoch, Wojciech her radiant smile... We ask Anna for an encore, and accident, at Green Coffee? Will we meet at a Polish Wojciechowski/Fabryka Obrazu Teresa – a painter in fancy pince-nez, with her short film? The last one mentioned here, perhaps due to Very special thanks to Ewa Mazierska for all her support. hair dyed yellow like an Easter chicken, suddenly says: shared acquaintances, is “A Few People, A Little Time”.

90 KINO POLISH CINEMA 2008