Wajda Studio

A bridegroom is possessed by an unquiet spirit in the midst of his own wedding celebration, in this clever take on the Jewish legend of the dybbuk.

The beginning of 1945, Poland. In a newly liberated country, the Communist Security Service is annihilating its enemies under the guise of punishing "national traitors." They organize a labor camp for Germans, Silesians and Poles, on the site of a former Nazi concentration camp called Zgoda / Reconciliation. Franek, who is in love with the Polish prisoner Anna, goes to work as a warder in the camp to save her. He does not know that one of the prisoners - Erwin, his German friend, also loved this girl for a long time. Franek joins the communists in the illusory hope of outsmarting the system.

Ada is an American journalist of Polish origin. She has just moved to Hamburg with her partner and is struggling to find her way in the new reality. One day, a mysterious package arrives at the editorial office where she works.

A dynamic and full of punk energy story based on life of one of the most original and interesting contemporary artist, the performer, Oskar Dawicki (playing himself). The main theme of his art is the search for an answer to the question of whether. Oskar Dawicki exists at all. The trade mark of his performances is his blue shining jacket.

The Mayan doomsday prophecy looms over a dark night in Poland. A late-night radio host takes in calls from citizens expressing their concerns, predictions and speculations on what may happen when—or even if—the sun comes up. Simultaneously, a crisis centre dispatcher fields panicked calls from people experiencing real-life traumatic situations in need of immediate attention. The voices of these callers are interwoven with an intimate therapy session and a wandering taxicab to build a profile of a place where citizens want to be heard. Never showing the callers on the other end of the line, the film creates an aural overview of a darkened city. As the night progresses, the calls continue coming in, revealing the various struggles people are experiencing in dealing with conceptual fears and current woes—all in a world that soon may be over.

Is there a recipe for a successful relationship? Can love stand the test of time? Three couples, differing in age, seniority and experience, reveal their fears and dreams about living together in front of the camera. Dorota Proba approaches her characters with great sensitivity, and they reciprocate with her complete honesty. The result is a very intimate, warm film that is full of difficult questions, surprising answers, great emotions and humor. Like in life.

One who doesn't have roots won't be able to grow wings-a documentary project about a man tracking his origins to the Middle East and establishing a connection with his father, whom he have never met before.

Can a horse save a life? In Clondalkin (Dublin) that’s exactly the case, in a district where there are a lot of problems and not a lot of prospects for the young.

The film is inspired by the real events – the story of Kati Andreevoj and Daria Chultsova – the two journalists from TV Belsat, an independent station broadcasting from Poland and their arrest by the Belarusian police in Minsk.

When adults are ineffectual, children have to grow up quickly. Ola is 14 and she takes care of her dysfunctional father, autistic brother and a mother who lives apart from them and is mainly heard the phone. Most of all she wants to reunite a family that simply doesn’t work — like a defective TV set. She lives in the hope of bringing her mother back home. Her 13 year old brother Nikodem’s Holy Communion is a pretext for the family to meet up. Ola is entirely responsible for preparing the perfect family celebration. “Communion” reveals the beauty of the rejected, the strength of the weak and the need for change when change seems impossible. This crash course in growing up teaches us that failure is not final. Especially when love is in question.

Dos Islas is a poetic story about old age, family and the bond between a granddaughter and a grandmother. The woman, who just turned 102, tells stories about her past and childhood. In a literary and visual way she describes the most minute details. The film dazzles the viewer with love and optimism, the time passes slowly between the two islands, which might be real people, real places or the products of the main character’s imagination.

The Ursus factory once covered 170 hectares and employed 20,000 workers, producing 100 tractors a day. Now, its buildings stand derelict and empty; half have already been demolished by investors with new plans. The symphony of mechanical sounds and gestures that is gradually built up throughout the film is produced by former factory employees. Proud of their factory, they reminisce about the huge numbers of people and the parties they had. They were a community, passionate about supporting agriculture through their factory. The Ursus tractor was well-known, not only in Poland but throughout the world.

Russia's invasion of Ukraine finds Alina in Irpin, near Kyiv. She is alone, with her leg in a cast after recent surgery. She manages to escape with her cat from a bombed and cut off city in one of the last evacuation groups. She reaches a cottage in a nearby village where her parents are stuck. For the first weeks they try to live normally. Her mother conducts online classes, her father takes care of his cats and the animals in the neighborhood, Alina records current events with her camera. However, the front is getting closer and closer, and they have to make a decision – to stay or to run away? When the neighbors leave their homes, Alina and her parents, under the cover of the night, hurry to pack. At the very last minute, the father decides to stay...

A storm causes damage to a bridge that connects the world of the living with the world of the dead. For this reason, the information about Maria’s own death reaches her with delay.

A poignant professional directing debut of Kobas Laksa, a visual artist, photographer, performer and an experimenter. Larysa and Boris, immigrants from Ukraine, are raising their son Mitia together. They try to balance their private and professional life. Larysa plays the flute and tries to be admitted to the local philharmonic orchestra, while Boris is a street mime. When they seem to have luck on their side, an accident that happens forces them to redefine the vision of the future they have had so far. Very close to man, this kind of cinema is balanced and intimate, with a sparse use of dialogue and great consistency of the form.

Danusia and her daughter Basia live far away from the modern world, in tune with the rhythm and laws of nature, among animals and the spirits of the dead. The peace and sense of security offered by their enclave come at a price - the women increasingly long for contact with other people. Bucolic is an affectionate observation of people who live in a different way. It evokes a curiosity about their world and a desire to take a closer look.

Aaron is an Israeli singer who comes to Poland for a guest performance in a provincial theater. The artist is warmly welcomed by the management and the theater team. During one of the rehearsals, Aaron spots backstage what he thinks looks like Adolf Hitler. Attempts are stopped and the hosts are accused of anti-Semitism. A chain of absurd situations follows, and the revealed prejudices lead to an escalation of the conflict.

‘I have decided to die this year,’ - jokes Basia, who does not look like someone who turned 80. She fulfils herself in her role of a grandmother, mother and sister as well as on stage. The camera captures her preparations to the performance of her life.

Two women, one house. An intimate story about a Pole and a German placed by war on enemy sides and their parallel lives accidentally brought together. The film reflects on the concepts of invaders, victim, guilt and forgiveness. It confronts different experiences and their paradoxical similarities. It deals with the controversial subject of the post-war accountings. The visual narration is flowing, guided by memories and archives. Traditional documentation confronts experimental use of archival footage in the cinematic impression about displacement.