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A film-noir conflict between a boxer and his trainer leads to an ultimatum: one of them will have to leave the boxing club. The film alternates between the narrative perspective of the two characters, reflecting on the conflict in flashback scenes. Eventually the trainer has to leave. The imagined and depicted seduction of women is wittily punctured through a critique of advertising, media glamour, and branding. And After the Night unfolds as a story of a young boy who leaves home for school, where he feels isolated. He leaves school and wanders aimlessly around the city, a grey, aggressive and hostile environment. He arrives back home, pauses, hesitates, and eventually runs away. The film is a recording of the news in a local Silesian context. It shows an interesting overview of late communist Poland. Among the numerous news items, the Solidarity trade union is noticeably present, foreshadowing the political changes about to occur. Anatomy is an erotic poem, shot in extreme close-up and accompanied by a heightened sound track. Flesh, smoke, paint and pencil take on an extraordinary materiality. A short portrait of an elderly married couple and their rural farmstead. The film begins with a narrative framework: a meeting of a group of men who, as we may assume, are scriptwriters talking about the shape of the following takes. Dense smoke billows from multiple chimneys, lime is slaked and cement manufactured. Thick layers of cement dust cover everything, causing untold environmental carnage. Shot with a handheld camera, it attempts to capture street life during the protest. A tender film about disability is played out through two characters. Piotrek, who lost his arm when he was ten, is now, as a grown man, enjoying the effects of vodka. And Agnieszka, whose upper body is paralyzed, is able to eat, sew and write with her dexterous legs and toes. One could be surprised by the variety of products: machines for agriculture, seat belts, furs, clothing, cars, bicycle wheels, planes, electrical components, packaging, furniture, etc. As the title suggests, the film is divided into two parts, devoted to work and leisure. In the former, we see workers operating machines in a production hall and scenes from the life of an industrial plant. The latter part features mountain climbing, paragliding, and a brass band in concert. A film that dares to raise the complex issues swirling around the Holocaust. Based on the memoirs of a survivor, who was incarcerated at Mauthausen from to His narration unfolds while visiting Auschwitz, recalling his extreme experience. And yet the film ends with a frail, positive, hopeful tone. Through history, and from crowded streets, the camera shifts to the local museum, where an official reception is in full swing. Shot on saturated colour filmstock, a single guitar melody accompanies the slow preparation for a music festival. Crowds gather, punks mix with hippies as darkness falls. At night, expectation gives way to excess. A girl is reading a book in her room. We then see her leaving the house to meet friends in town. They buy a book at an antiquarian bookshop, stroll around the Old Town, and treat themselves to coffee in a restaurant garden. The girl can later be seen alone as she wanders the ruins of a castle amid meadow bushes. The film editing suddenly accelerates, the music turns ominous, and the girl rushes to the top of the castle and hurls herself over the precipice. At the end, the film returns to the room, where the protagonist is knitting, immersed in thoughts. A wicked satire on gender stereotyping. A Freudian chain of erotic exchanges pour from the mini-animation Function. The body is represented by lips that eat, drink, and communicate love with a narcissistic kiss. An elderly man rushes into the forest, where logging is going on. He takes a broken tree-trunk home and uses it to sculpt a flautist, which he carries to the forest. The eponymous forest demon, a satyr, emerges from the bushes and takes the sculpture away. We later see him playing the flute in the company of a girl. The film ends with the elderly man descending into a lake. Record of a light aircraft flight — from take-off, to time spent in the air, to landing. Young smiling women, scantily dressed, dance endlessly. Our gaze fuses with that of a gaggle of men sitting in cinema seats. A rare plasticine stop-motion animation, Homo condenses a sophisticated critique of the human condition. A group of young men and women drink wine, joke and dance. With time, the atmosphere loosens and sexual contacts occur, such as a scene of lesbian frolics, which appears bold given the context of the times. The ending features the neon-styled logo of the Jubiler jewelry company. An ironic take on the mythology around the director figure and film-making. Fast-paced editing and rhythmic music lend the piece an air of an avant-garde music video. She delivers a telegram, warning the pilot that the reserves of potable water are not endless. The woman in black disappears down the toilet. Accompanied by a happy, marching soundtrack, this experimental animation inter-cuts spinning childhood toys with brooding violence and military force. The sly critique extends to film itself, where the hand-drawn time code mimics the digital precision of video. A documentary record of two chimney sweeps working on the roof of buildings, supplemented by shots of city streets from above. Shot like an advertisement, the film promotes a new kind of dressmaking industry that combines mass production with original design. All the stages of manufacturing are displayed, from pattern to packaging, and lastly a glamorous fashion show and party. In the documentary Site Workers we witness itinerant workers draining vast tracts of marshland through ditch-digging and drainage. This is brutal hard work in freezing conditions. When the job is done, drink spills into song and drunken celebration. A witty, wicked little film that stages the house-moving of a family from a traditional countryside cottage to a typical communist apartment building. A beautiful, poetic and melancholy narration of the life of an old woman living alone in a rural house. The director focuses on her simple, everyday life: feeding animals, harvesting, plucking flowers, cooking. An ode to simplicity and peacefulness, full of tenderness and empathy. Small-town youth abandon themselves in a psychedelic fantasy of endless drinking, dancing and sex. Driven by a pounding rock soundtrack, Butterflies with its swirling hand-held camera captures an imagined summer of love. Inspired by Italian neo-realist cinema, this beautifully photographed feature unfolds as a tender portrait of family life. With the birth of a new child, everyday life becomes an epic drama, as the mutual dependence of work and home are fused together by love. A beautiful reflexive film about filming and film-making. A group of men, probably amateurs from the club AKF Cyklop, are shown working together on a scenario through storyboards and scripts. Having written the script, out comes their equipment, and filming starts in the street. A man visits the grounds of the Auschwitz-Birkenau concentration camp, where we see its characteristic elements: the inscription above the entrance gate, the surrounding barbed wire fence, the barracks. Shots portraying these sites are filled with bright light. In the docudrama Misunderstanding , a politically explosive subject unfolds with real empathy. An artist pursues the object of his affection: forbidden love, a male athlete. Unable to sublimate his passion, he persists until humiliation and violence ensue. A celebration of amateurism: an amateur film about amateur painters! The documentary records a painting club, where all sorts of paintings are created: landscapes, still-lifes, portraits, and even nudes. The filmmakers and their subject, the painters, share a common passion. A man is thrown out of jail straight onto the street. He roams an empty city when suddenly a mysterious figure begins to follow him. It turns out to be a dummy. The protagonist tries to escape, but he comes to a dead end, where he is cornered by a whole group of hostile dummies. A humorous animation in which a woman sneaks up on a sombrero-wearing Mexican guitarist in the desert amid cacti. When their bodies come together, a curtain falls from the sombrero. A sharp insight into the psychology of teenagers. This lyrical film captures their melancholy and their doubts through the context of Christmas. A group of teenagers are gathered around a Christmas tree, singing carols, chatting, gossiping, and decorating the tree while the camera circles slowly and sensually around. When they arrive, we see a historical re-enactment group, while the historic fire truck now serves as a beer dispenser. Two animations introducing and concluding the cultural TV program Pegasus. The first animation is based on the playful use of typography and childlike drawings; the second merges graphics with photography. Seen in extreme close-up, female body fragments resemble elements of a landscape. The piece emanates an air of avant-garde mystery achieved with bright colours and regularly repeated sounds of explosions. A rare Polish funk soundtrack drives this lighthearted feature depicting petty bribery and corruption. A short animation that traces a typical day-in-the-life-of a factory worker. The newspaper graphics and ever-smiling face of our protagonist are at odds with the poignant paper tears that fall at the end of another unsatisfactory day. An astonishing documentary, featuring a carnavalesque celebration by Silesian coal miners. A hundred men dressed in official costumes have gathered in a large room, sitting in rows. All evening, there are speeches, cabaret shows, singing, and wild stripteases. But most of all, as the pints are emptied and systematically refilled, endless, endless drinking. This gentle documentary film follows a day-in-the-life of a man employed to post posters. His job, which is barely recognizable as work, weaves seamlessly into the everyday texture of the small town. Thanks to animation, anthropomorphic bottles and glasses throw a party. Each glass assumes a character, drinking, and drinking, and drinking vodka. Eventually they tire and fall asleep. A man is taking a solitary train journey. He smokes a cigarette in the compartment and stares melancholically out of the window. Retrospections reveal his memories of breaking into an apartment, being arrested by the police, and wandering around ruins. Another insight into the psychology of teenagers, and a companion film to Them by the same directors , which recorded the views and opinions of girls, They Will Be Back focuses on a group of boys. Shot in close-up, which stresses the interiority of the boys, the film is a subtle analysis of our relation as individuals to a group, and between commitment and isolation. A young couple visit an aging grandmother for an afternoon, and of course they bring a present. In this achingly beautiful colour film, shot in the last light before darkness, we glimpse a chasm of loneliness that no gift could ever repair. Former lovers meet, and, through drink, old photographs, letters and flash-back reminiscences, slowly rekindle their former affection. With shocking intimacy, passion erupts through an erotic tenderness rarely seen on screen. An allegoric narrative about Polishness, and the romance of martyrdom often attached to it. The sacred space of a church is established, full of symbols of Polishness and spirituality. The corruption of this sacred space is depicted through the autonomous motion of objects: a purse full of coins suggests that Poland has been sold to foreign countries; struggle is symbolized by swords, helmets, shields, and flaming torches; and a more general decline is conveyed through the symbolism of food and alcohol. This mixture of live action and animation conjures up the figure of love as a cartoon character. Flirt is a wry, witty glance at first love. An attempt to portray social situations where people make contact by giving each other knowing glances. For the most part the film is set on a tram, where two men look at each other shyly. Its aim was to emphasize collective values and folk art traditions, and to consolidate the communist system. This documentary reveals an interdependence between women and machines in a textile factory. Ancient imagery is edited to a musical rhythm; intense concentration enables arms, fingers, feet and machinery to weave fabric and film together. Like warriors preparing for battle, these labourers strap on all manner of protective equipment before going to work down on their hands and knees in molten tar, road-laying. The final application of paint markings indicates a job well done, but with the terrifying fall of a pickax, the cycle begins again. Three years after retiring from his job as a foreman in a coal mine, a man is sitting on a park bench. His nostalgic narration, in a Silesian dialect, is overlaid with images of his last inspection of the mine. The film captures his particular attachment to the mine: a longing, an ambiguous feeling of fear and respect. The realization that mining is the only thing he knows reinforces his present idleness. A real celebrity with visible charm, Tereshkova arrives by motorcade through the jostling press, greeting fawning dignitaries and a vast adoring crowd. This is a tender film of history in the making. The film is a sort of diary of rural life in communist Poland, evidencing the importance the communist regime placed on rural workers, who were valued as the future of the nation itself. The director emphasizes the idea of a new conception of agriculture, full of utopian enthusiasm that changes will occur through agriculture. The labour of film-making is reflexively spliced into a portrait of the steelworks where the filmmakers work. Time-lapse animation devoted to the work of an engineer in charge of the proper functioning of an automotive manufacturing machine. The final scene sees him relaxing in a meadow. An experimental homage to agricultural labour. An old woman plants seedlings, and as the camera pulls back from her task she shrinks to the size of an ant compared to the vastness of the field before her. The characters of this film are embodied by hands and fingers. They symbolize the antagonism between good and evil, the latter suggested by sinister black leather gloves. The film dramatically depicts the confrontation between the constructive and the destructive. Two wounded soldiers engage in mortal combat in the middle of the desert. Following attempts to shoot each other and a brutal fight, they both fall to the ground exhausted. This allows them to see each other as fellow human beings. They help each other get to the road, but an approaching aircraft shoots them dead. Starting in a local auditorium, the celebrations take to the street, where the traditional procession takes place, with its workers groups, clubs and associations, amateur musicians, bands and orchestras, folk dancers, and official banners with communist slogans. A documentary celebration of the th birthday of the wool factory Bewelana. The film traces the workers and the machines inside the factory, a meeting of the administration, a party organized for the th birthday of Bewelana, a choir, a rock band, and people dancing. The film climaxes with a meeting of the Polish communist party. Enthusiasts Archive. Knocked Out Without a Blow Nokaut bez ciosu. Now playing. Are We Cool or What? A czy my to jacy tacy…. Anatomy Anatomia. Both Very Old Bardzo starzy oboje. Blockade Blokada. Work Time and Leisure Time Czas pracy i czas relaksu. Deported Deportowany. Chocolate Factory Fabryka czekolady. Function Funkcja. Hours Counted with Wings — Enthusiasts Archive. Homo Homo. Humbug Humbug. Party Impreza. Jubiler Jubiler. Carousel Karuzela. Chimney Sweeps Kominiarze. A Tailor for Millions — Enthusiasts Archive. Site Workers Ludzie z bazy. Three-Room Apartment M3. Markowa and Her World — Enthusiasts Archive. Butterflies Motyle. Birth of a Film Narodziny filmu. Misunderstanding Nieporozumienie. Amateurs with Painting Palettes — Enthusiasts Archive. Stranger Obcy. Them One. Petitioner Petent. Song for the Worker of the Morning Shift Piosenka dla robotnika rannej zmiany. Flyposter Plakaciarz. Leaving on Schedule at 1 pm Planowany odjazd godzina Leaving on Schedule at 1 pm — Enthusiasts Archive. Before Dusk Przed zmierzchem. Through the Mirror Przez lustro. Together Razem. Regi Poloniae Regi Poloniae. The Rockefellers Rokefelerzy. Flirt Romanza ludzika. Gaze Spojrzenie. Symbiosis Symbioza. Sisyphus Syzyfowie. Foreman Sztygar. Birthday Urodziny. Wojciech Siemion and the Rascals — Enthusiasts Archive. Rooted in the Rural Landscape — Enthusiasts Archive. Contemporary Symphony — Enthusiasts Archive. Wysoka Wysoka. Rasp Zgrzyt. Earth Ziemia. Crushing, the Crushing Fruit — Enthusiasts Archive. May 1st 1 Maja

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