53 Wars<\/span><\/p>\n \n Ania and Witek are a loving, married couple. Aside from their love for each other, they share a passion for journalistic writing. With time, the nature of Witek\u2019s profession casts a shadow on the idyllic nature of their marriage. Witek is a war correspondent who, it seems, is addicted to the adrenaline rush when reporting from areas affected by modern-day world conflicts. Witek departs for the battlefront, leaving Ania and their two little sons behind. For Ania, the continued anticipation of Witek\u2019s return and the constant fear of his meeting his death on the front appear to have serious consequences. 53 Wars<\/em> is based on the lives of real people \u2013 war correspondent Wojciech Jagielski and his wife Gra\u017cyna Jagielska. The latter\u2019s autobiographical book Love Made of Stone<\/em> about being married to a war correspondent was the basis for the film and describes a dramatic and yet touching face of love and devotion.<\/p>\n Polish title:<\/strong> 53 wojny \n Back Home<\/span><\/p>\n \n Nineteen-year-old Urszula returns to her hometown after two years of absence. The return is not easy \u2013 the teenager has been working in a German brothel (although against her will), which is met with ostracism from conservative members of society. Even her closest family is ashamed of her. However, despite being treated like an outcast, the girl does not agree to play the role of victim. She rebels against the hypocrisy of people around her who want to be seen as devout followers of Christian values, but contradict them with their actions. \u201cIt does not mean that Back Home<\/em> is anti-catholic or anti-religious. It is easy to show faith degraded to just rituals, and mock its cheap and gaudy character. It was important for us to escape such simple solutions,\u201d said the director of the film in an interview. The story told in Back Home<\/em> is based on real events. To make it look more credible on screen, the role of Urszula was given to an actress who is talented but unknown to wide audiences \u2013 Sandra Drzymalska, freshly graduated from drama school.<\/p>\n Polish title:<\/strong> Powr\u00f3t \n Breaking the Limits<\/span><\/p>\n \n The story is set in Legnica, an average-sized town near Wroc\u0142aw, during the final years of Communism in Poland. A young man uses drugs to escape his dull, daily life. Drug trips, brawls and rehabs in hospitals are his reality. It seems that he is a lost cause. Breaking the Limits<\/em> illustrates a key moment in the biography of Jerzy G\u00f3rski \u2013 a Polish champion of high-performance sports, a man who had to fight his own demons to later compete in the double triathlon world championship (Double Ironman) in the USA (1990). This is a film about his journey to the top from the very bottom \u2013 through sport, friendship and love. Talented actor Jerzy Gajos also plays an authentic character: the late Marek Kota\u0144ski, who had helped dozens of young Polish people break free from drugs.<\/p>\n Polish title:<\/strong> Najlepszy \n Butler, The<\/span><\/p>\n \n The action takes place in 1900\u20131945 in Kashubia \u2013 a cultural region by the Baltic Sea, incorporated into Polish Pomerania in 1919. Before then, Kashubia belonged to Prussia; however, Kashubian people had always felt closer to Poland and Polish culture and tradition. Clashes between Polish, Kashubian and German interests frequently had a negative impact on the course of military conflicts in the area, which at that time were breaking out due to the influence of important historic events, and they engaged people who would normally coexist in peace, despite cultural and national identity differences. It is a great history \u2013 especially the two World Wars \u2013 that sets the background for The Butler<\/em>, an epic family saga and a love story about a Kashubian landlord and a Prussian aristocrat. One of the main sequences in Filip Bajon\u2019s painting-like work is the scene of the mass murder in Pia\u015bnica, where thousands of Polish people (among them Kashubs) were murdered by the SS, with help from Pomerania\u2019s German minority.<\/p>\n Polish title:<\/strong> Kamerdyner \n Cat with a Dog, A<\/span><\/p>\n \n The film is set in Poland some years ago. Janusz, a film director, discovers that his older brother Andrzej, also a film director, has suffered a stroke, become partially paralysed and is going to spend the rest of his life in bed and bound to a wheelchair, with the risk that the disease could attack his brain as well. The brothers have not been getting on well for a long time. \u201cWe were like cat and dog,\u201d admits Janusz, but he brings Andrzej to stay at his house and takes care of him with the help of his wife, Beata. Andrzej\u2019s wife, Iga, joins them too. Despite the gloomy topic, Janusz Kondratiuk\u2019s film does not lack humour and is at the same time a story of struggling with a serious, progressive illness of a close relative and a record of rebuilding the frayed bond between two brothers. Janusz Kondratiuk, director of the cult Polish film Dziewczyny do wzi\u0119cia<\/em>, uses cinematic language to tell the story of his own relationship with his brother, Andrzej Kondratiuk, the creator of beautiful, poetic films such as Gwiezdny py\u0142<\/em> (Stardust<\/em>) and Wrzeciono czasu<\/em> (The Spindle of Time<\/em>). The character of Iga was portrayed by actress and singer Iga Cembrzy\u0144ska.<\/p>\n Polish title:<\/strong> Jak pies z kotem \n Ether<\/span><\/p>\n \n The story takes place at the beginning of the twentieth century. Poland is under occupation by foreign empires. Somewhere, in the territory annexed by Russia, a doctor uses ether to narcotise a young woman and satiate his desires without resistance. She never wakes up. In consequence, the doctor is sentenced to death. At the last moment, the death sentence is substituted by exile, and the doctor is sent to a military fortress in the Austrian partition, led by a certain commander. Here, besides his regular medical practice, he continues his experiments with ether, aimed to manipulate people and control their free will, emotions and minds. Unexpectedly, the doctor finds himself at the centre of an espionage plot. This might all seem to be the main, visible layer of Ether<\/em>, but there is also another, secret layer which allows us to see the film as a reinterpretation of the myth of Faust. As Krzysztof Zanussi says: \u201cUnlike in Goethe\u2019s Faust<\/em>, it is not love and disappointment with science that is at stake. In Ether<\/em>, the doctor believes that science is a tool which can be used to fulfil the most wicked of human desires \u2013 full physical and spiritual control over another person.\u201d<\/p>\n Polish title:<\/strong> Eter \n Fugue<\/span><\/p>\n \n \u201cFugue\u201d here does not refer to music, but to dissociative fugue \u2013 a condition, when after prolonged exposure to intense stress, a person\u2019s mind becomes a fugitive, able to deprive one of their memories or even create a new personality, diametrically different from the one they originally had. Dissociative fugue can last from a few hours to a few years. People affected by this condition are usually well-functioning members of society, while their identities may be completely altered. Alicja used to be called Kinga. She does not remember herself from that time and does not know who she is now. Two years after her disappearance, her family finds her through a TV programme, but Alicja doesn\u2019t recognise them. With time, from the fragments of her memories, a picture arises of a mystery \u2013 events from the past. Agnieszka Smoczy\u0144ska\u2019s Fugue<\/em> is not a scientific work, but a narrative inspired by a real story, based on Gabriela Muska\u0142a\u2019s (leading role) script.<\/p>\n Polish title:<\/strong> Fuga \n Nina<\/span><\/p>\n \n Nina is a French teacher in her thirties. She encourages her students to contemplate daring literary masterpieces, which causes conservative members of society to react with cold reluctance. Nina is happily married to Wojtek, a car mechanic, but they can\u2019t have children. They start looking for a surrogate. A series of coincidences and discussions between the spouses results in finding a candidate \u2013 Magda, an airport security worker, about ten years younger than Nina. Step by step, breaking one psychological barrier at a time, Magda and Nina develop feelings for each other. Nina, the older partner, finds new depths of emotionality and sexuality in herself which she was not previously aware of. Their passionate romance eventually becomes turbulent, and on top of that, there is also Wojtek\u2019s involvement in the relationship. Nina<\/em>, an intimate psychological drama with a sensual erotic layer, is predominantly a film about deep love \u2013 as Olga Chajdas, the director, often emphasises. The characters were portrayed by talented actors: Julia Kijowska (Nina), Eliza Rycembel (Magda) and Andrzej Konopka (Wojtek).<\/p>\n Director:<\/strong> Olga Chajdas \n Pardon<\/span><\/p>\n \n The story is set in Poland, shortly after the end of the Second World War. Through the actions of the secret police (the Office for Security), the Communist authorities brutally crack down on soldiers of the Polish Home Army, who have the support of the majority of society. In the autumn of 1946, Wac\u0142aw Szewczyk, alias Odrow\u0105\u017c, falls prey to the regime. The perpetrators don\u2019t stop at taking his life, going as far as to defile his corpse. Hanna and Jakub Szewczyk set out on a long journey with a coffin containing his remains in order to give their son a proper burial in a remote, peaceful place. The road, fraught with danger, takes them through a country in which much of what the couple faces on their way contradicts the formulaic way of thinking of that era. This authentic story about the unbelievable escapades in Pardon<\/em> was told from the point of view of Hanna and Jakub Szewczyk\u2019s grandson, the director of the film, Jan Jakub Kolski. The deceased Wac\u0142aw Odrow\u0105\u017c Szewczyk was his uncle. Pardon<\/em> is a kind of road movie; however, the viewer may notice certain poetic elements from the Western genre.<\/p>\n Polish title:<\/strong> U\u0142askawienie <\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" We announce the line-up of the Polish Films Competition of the 26th edition of the International Film Festival of the…<\/p>\n","protected":false},"author":3,"featured_media":16154,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[402],"tags":[],"class_list":["post-16137","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wiadomosci-camerimage-2018"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/16137"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=16137"}],"version-history":[{"count":13,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/16137\/revisions"}],"predecessor-version":[{"id":16239,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/16137\/revisions\/16239"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media\/16154"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=16137"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=16137"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=16137"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/53-wojny-fotos-2-1024x576.jpg\")
<\/p>\n
\n Director:<\/strong> Ewa Bukowska
\n Cinematographer:<\/strong> Tomasz Naumiuk
\n Produced by:<\/strong> Studio Munka
\n Polish distributor:<\/strong> NEXT FILM SP. z o.o.
\n Country and year:<\/strong> Poland, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/powr-t-1024x554.jpg\")
<\/p>\n
\n Director:<\/strong> Magdalena \u0141azarkiewicz
\n Cinematographer:<\/strong> Wojciech Todorow
\n Produced by:<\/strong> Argomedia Sp. z o.o.
\n Polish distributor:<\/strong> Alter Ego Pictures Sp. z o.o.
\n Country and year:<\/strong> Poland, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/jakub_gierszal_8_fot_r_palka-1024x576.jpg\")
\n photo by Robert Pa\u0142ka<\/em><\/p>\n
\n Director:<\/strong> \u0141ukasz Palkowski
\n Cinematographer:<\/strong> Piotr Soboci\u0144ski Jr.
\n Produced by:<\/strong> Iron Films Sp. z o.o.
\n Polish distributor:<\/strong> M\u00f3wi Serwis
\n Country and year:<\/strong> Poland, 2017<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/kamerdyner_filmicon_fot-rafal-1024x537.jpg\")
\n photo by Filmicon \/ Rafa\u0142 Pija\u0144ski<\/em><\/p>\n
\n Director:<\/strong> Filip Bajon
\n Cinematographer:<\/strong> \u0141ukasz Gutt
\n Produced by:<\/strong> Filmicon Dom Filmowy S.C.
\n Polish distributor:<\/strong> NEXT FILM Sp. z o.o.
\n Country and year:<\/strong> Poland, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/jpzk_d15_07062017041-1024x683.jpg\")
<\/p>\n
\n Director:<\/strong> Janusz Kondratiuk
\n Cinematographer:<\/strong> Witold P\u0142\u00f3ciennik
\n Produced by:<\/strong> Akson Studio Sp. z o.o.
\n Polish distributor:<\/strong> Akson Studio Sp. z o.o.
\n Country and year:<\/strong> Poland, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/eter-13_26-08-2017_fotosy-24-1024x683.jpg\")
<\/p>\n
\n Director:<\/strong> Krzysztof Zanussi
\n Cinematographer:<\/strong> Piotr Niemyjski
\n Produced by:<\/strong> Studio Filmowe TOR
\n Polish distributor:<\/strong> NEXT FILM Sp. z o.o.
\n Country and year :<\/strong> Hungary, Poland, Ukraine, Lithuania, Italy, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/fotos-5-fuga-1024x576.jpg\")
<\/p>\n
\n Director:<\/strong> Agnieszka Smoczy\u0144ska
\n Cinematographer:<\/strong> Jakub Kijowski
\n Produced by:<\/strong> MD4 Sp. z o.o.
\n Polish distributor:<\/strong> KINO \u015aWIAT Sp. z o.o.
\n Country and year:<\/strong> Sweden, Poland, Czech Republic<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/nina-r-palka_060217-6-full-1024x576.jpg\")
\n photo by Robert Pa\u0142ka<\/em><\/p>\n
\n Cinematographer:<\/strong> Tomasz Naumiuk
\n Produced by:<\/strong> Film it Sp. z o.o.
\n Polish distributor:<\/strong> Film it Sp. z o.o.
\n Country and year:<\/strong> Poland, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2018\/10\/ulaskawienie_fotos_4-1024x683.jpg\")
<\/p>\n
\n Director:<\/strong> Jan Jakub Kolski
\n Cinematographer:<\/strong> Julian A. Ch. Kernbach
\n Produced by:<\/strong> Wytw\u00f3rnia Do\u015bwiadczalna sp z o.o
\n Country and year:<\/strong> Slovakia, Poland, Czech Republic<\/p>\n