Polish Film Festival 2014 19.11.14 – 12.12.14
The Polish Institute is pleased to announce the second edition of the Kinoteka Polish Film Festival.
The Festival will kick off in Mumbai on 19th November and draw to a close in Delhi on 12th December.
The two-city Festival is also split into two parts: the first, called Polish Cinema Now is focused on contemporary Polish cinema, and features some of the most recent film successes, including Andrzej Jakimowski’s highly-acclaimed Imagine, which opens the Delhi leg of Kinoteka in the presence of the director himself and that of his wife Ewa Jakimowska who worked on the film’s production design. Other films in this section are also highly-rated such as Ida, which has been nominated for next year’s Oscars in the Best Foreign Language Film category.
The second part of the Festival is a tribute to arguably Poland’s best known film director – Krzysztof Kieślowski. 2014 marks the 25th anniversary of the premiere of his iconic The Decalogue series, and on the occasion we will be screening the first four episodes from it as part of a Krzysztof Kieślowski Retrospective.
In addition to the Kieślowski movies, we also have a very special poster exhibition based on the director’s movies. The films of Krzysztof Kieślowski in world film posters exhibition is a poster tribute highlighting the rich trajectory of films of Krzysztof Kieślowski. Curated by the Film Museum in Łódź (Muzeum Kinematografii w Łodzi), the exhibition consists of 45 film posters featuring some of Kieślowski’s most critically lauded films, made in the years between 1976 and 1994.
This second edition of the Kinoteka Polish Film Festival is thus a rich combination of the classic and the new, and we hope you can join us in appreciating the very best of Polish cinema.
Anna Tryc-Bromley, Director
Gauri Sharma, Kinoteka Polish Film Festival Programmer
POLISH CINEMA NOW
dir. Paweł Pawlikowski, Poland, 2013, 80’
Poland 1962. Anna is an eighteen-year-old woman preparing to become a nun at the convent where she has lived since being orphaned as a child. She learns she has a living relative she must visit before taking her vows, her mother’s sister – Wanda.
Together, the two women embark on a voyage of discovery of each other and their past. Her
aunt, she learns is not only a former hardline Communist state prosecutor notorious for
sentencing priests and others to death, but also a Jew. Anna learns that she too is Jewish –
and that her real name is Ida. This revelation sets Anna, now Ida, on a journey to uncover her roots and confront the truth about her family.
Ida has to choose between her birth identity and the religion that saved her from the massacres of the Nazi German occupation of Poland during the Second World War. And Wanda must confront decisions she made during the War when she chose loyalty to the cause before family.
Written by Paweł Pawlikowski and Rebecca Lenkiewicz, and directed by Pawlikowski (Last
Resort, My Summer of Love), the film stars Agata Trzebuchowska as Ida, and Agata Kulesza as Wanda.
Director: Paweł Pawlikowski
Producers: Eric Abraham, Piotr Dzięcioł, Ewa Puszczyńska
Screenplay: Paweł Pawlikowski, Rebecca Lenkiewicz
Cinematography: Łukasz Żal, Ryszard Lenczewski
Editor: Jarosław Kamiński P.S.M
Music: Kristian Eidnes Andersen
Production Company: Opus Film, Phoenix Film Investment
Agata Kulesza, Agata Trzebuchowska, Dawid Ogrodnik, Jerzy Trela, Adam Szyszkowski, Joanna Kulig
AWARDS & SELECTED SCREENINGS
Toronto International Film Festival – Prize of the International Critics (FIPRESCI Prize) in Special Presentations section, 2013
38th Gdynia Film Festival – Golden Lions for Best Film, Actress (Kulesza), Cinematography and Production Design, 2013
29th Warsaw Film Festival – Warsaw Grand Prix in the International Competition, 2013
57th BFI London Film Festival – Grand Prix as Best Film, 2013
The International Film Festival of the Art of Cinematography Camerimage – Golden Frogue for the Best Cinematography, 2013
Photograph: Portobello Film Sales
dir. Andrzej Jakimowski, France/Poland/Portugal/Great Britain, 2012, 105’
Young students huddle together on a bench in the glaring sun, clutching their white canes,
listening for the signs that can let them put together the puzzle of their existence – they are
the blind children and young adults of a world-renowned specialized Lisbon clinic. Ian, their
new spatial orientation instructor, wants to leave traditional boundaries behind and help them explore their surroundings without feeling vulnerable or frightened. Through unconventional means, he aims to stimulate their curiosity and imaginations.
Ian quickly wins their trust, prompting him to attempt challenges with a greater element of
risk. His two most eager students are the adults Eva and Serrano, who experience an adrenaline surge when they leave their safe, quiet clinic for the streets of the busy metropolis. But while Eva boldly leaves her cane behind and tries to mask her blindness, enjoying a flirt in a café, Serrano has doubts that Ian is being truthful. Is the image of the world that Ian is conveying to his students real?
Director: Andrzej Jakimowski
Producers: Andrzej Jakimowski, Vladimir Kokh, François d’Artemare
Screenplay: Andrzej Jakimowski
Cinematography: Adam Bajerski
Production Designer: Ewa Jakimowska
Editor: Cezary Grzesiuk
Music: Tomasz Gąssowski
Production Company: Zjednoczenie Artystów i Rzemieślników Sp. z o.o., KMBO Production, F&ME, Filmes do Tejo, Multimedia Lda, Film and Music Entertainment Limited, CANAL+ Cyfrowy Sp. z o.o., Wytwórnię Filmów Dokumentalnych, Fabularnych, Can Do Films, Polish Film Institute
Edward Hogg, Alexandra Maria Lara, Melchior Derouet, Francis Frappat, Joao Lagarto, Alix Plancq, Ellie Wallwork, and others.
AWARDS & SELECTED SCREENINGS
Best Director, Warsaw International Film Festival, 2012
Audience Award, Warsaw International Film Festival, 2012
Audience Award, Emden International Film Festival, 2013
Grand Prix, Łagów Polish Film Festival, 2013
Toronto International Film Festival (Contemporary World Cinema)
Hajfa International Film Festival (Filmmakers of Tomorrow)
Busan International Film Festival
Warsaw International Film Festival (Main Competition, Opening Film)
BFI London Film Festival
Palm Springs International Film Festival
Photograph: Imagine Press Kit
• Jack Strong
dir. Władysław Pasikowski, Poland, 2014, 128’
Jack Strong tells the gripping true story of colonel Ryszard Kukliński, one of the most controversial figures in Polish post-World War II history. Hailed as a global hero, Kukliński single-handedly declared and waged a secret war against Communist oppression, risking his and his family’s life for the sake of national security. Pressured by his own conscience and by an increasing threat of a nuclear holocaust, he realized that the only way to save what’s left of his exhausted country is to go undercover. Thanks to his determination, he started a long, lonely and psychologically exhausting cooperation with the CIA.
Director: Władysław Pasikowski
Producers: Klaudiusz Frydrych, Roman Gutek, Sylwia Wilkos
Screenplay: Władysław Pasikowski
Cinematography: Magdalena Górka
Editor: Jarosław Kamiński
Music: Daria Druzgala
Production Company: Scorpio Studio
Marcin Dorociński, Patrick Wilson, Maja Ostaszewska, Oleg Maslennikov, Dimitri Bilov, Zbigniew Zamachowski, Dagmara Domińczyk, Ireneusz Czop, Mirosław Baka, Krzysztof Pieczyński
AWARDS & SELECTED SCREENINGS
Gdynia Film Festival – Best Director, 2014
Gdynia Film Festival – Best Costume Design, 2014
Brussels Film Festival 2014
Montreal World Film Festival 2014
South Korea Puchon International Fantastic Film Festival, 2014
Prague Summer Film School Festival, 2014
Vienna Let’s Cee Film Festival, 2014
Luxembourg CINEAST Film Festival, 2014
Photograph: Scorpio Studio
• Life Feels Good/Chce się żyć
dir. Maciej Pieprzyca, Poland, 2013, 107’
Mateusz is an intelligent, romantic young man tragically trapped inside his own body, suffering from severe cerebral palsy that makes speech and controlled movement nearly impossible. Born into a loving family, Mateusz’s protected world is shattered when circumstances place him in an institution where he is misunderstood and mistreated. Featuring an astonishing, virtuoso lead performance, Life Feels Good beautifully recounts the true story of one man’s extraordinary efforts to endure in the face of impossible odds. The Maciej Pieprzyca’s biopic is a double prize-winner at both the Gdynia and Montreal Film Festivals.
Director: Maciej Pieprzyca
Producer: Wiesław Łysakowski
Screenplay: Maciej Pieprzyca
Cinematography: Paweł Dyllus
Editor: Krzysztof Szpetmański
Music: Bartosz Chajdecki
Production Company: Tramway Films
Dawid Ogrodnik, Dorota Kolak, Arkadiusz Jakubik, Kamil Tkacz, Katarzyna Zawadzka, Anna Nehrebecka
AWARDS & SELECTED SCREENINGS
Montreal World Film Festival – Grand Prix, 2013
Montreal World Film Festival – Audience Award/Nagroda Publiczności, 2013
Montreal World Film Festival – Prize of the Ecumenical Jury/Nagroda Jury Ekumenicznego, 2013
Gdynia Film Festival – Silver Lion/Srebrne Lwy, 2013
Gdynia Film Festival – Audience Award/Nagroda Publiczności, 2013
Gdynia Film Festival – Golden Clapper/Złoty Klakier, Nagroda Radia Gdańsk dla najdłużej oklaskiwanego filmu, 2013
Gdynia Film Festival – Dawid Ogrodnik: Crystal Star Elle/Kryształowa Gwiazda Elle, 2013
Chicago (MFF) – Silver Hugo/Srebrny Hugo, 2013
Photograph: Tramway Films
dir. Joanna Kos-Krauze & Krzysztof Krauze, Poland, 2013, 126′
Based on real events, Papusza tells the dramatic tale of Bronisława Wajs, the first Romani poet to ever write down her poems and publish them, thereby confronting the traditional female image in the gypsy community. The film follows Papusza’s life from birth to old age: arranged marriage as a small girl, her life in a gypsy tabor before, during and after the Second World War, then forced settlement in communist Poland and urban life in poverty. Her meeting with the Polish poet Jerzy Ficowski, who discovered her great talent for poetry and published her works led to a tragic paradox: a famous poet was living in poverty, rejected by the Roma community, for betraying their secrets. This is the first Polish film made in the Romani language.
Director: Joanna Kos-Krauze, Krzysztof Krauze
Producer: Lambros Ziotas
Screenplay: Joanna Kos-Krauze, Krzysztof Krauze
Cinematography: Krzysztof Ptak, Wojciech Staroń
Editor: Krzysztof Szpetmański
Music: Jan Kanty Pawluśkiewicz
Production Company: Telewizja Polska S.A., Canal+ Polska & Studio Filmowe KADR
Jowita Budnik, Antoni Pawlicki, Zbigniew Waleryś, Artur Steranko
AWARDS & SELECTED SCREENINGS
World Premiere: Karlovy Vary 48.IFF – Grand Jury’s Special Mention, Main Competition, 2013
Thessaloniki 54. IFF – Open Horizons, Audience Award, 2013
Valladolid 58. IFF – Best Director, Youth Jury Prize, Best Actor, 2013
London FF, 2013
Chicago IFF, 2013
Haifa IFF, 2013
Tallin Black Nights IFF, 2013
Arras FF, 2013
Molodist IFF, 2013
Cottbus IFF, 2013
Rotterdam IFF, 2014
Photograph: New Europe Film Sales
KRZYSZTOF KIEŚLOWSKI RETROSPECTIVE
To celebrate the 25th anniversary of the premiere of Krzysztof Kieślowski ’s iconic The Decalogue (Dekalog) series, we are delighted to announce that this year’s Kinoteka Polish Film Festival will feature the first four episodes of the series as part of a Kieślowski retrospective.
• The Decalogue /Dekalog (1-4)
dir. Krzysztof Kieślowski, Poland, 1988 (premiere: Dec 10, 1989), 57’ (each)
Originally made for Polish television, Krzysztof Kieślowski’s acclaimed The Decalogue (Dekalog) is a ten-part series in which each episode offers a contemporary dramatic meditation on one of the Ten Commandments. However, it is not a television series in the familiar sense. There is an ongoing plot and the characters are different, with the exception of one mysterious, unidentified figure who appears in every part (played by Artur Barciś). What all episodes do have in common is the setting – a huge, impersonal housing project. Overwhelming size, uniform buildings, and the cramped apartments in which both smaller and larger human dramas must play out. Although the individual stories are inspired by the Ten Commandments, it is important to emphasize that Kieślowski and his co-scriptwriter Krzysztof Piesiewicz have made them accessible to every viewer regardless of worldview or religious belief. Bare-bones descriptions of their respective plots may make them sound like single threads from the interwoven storylines of an average soap opera. But Kieślowski is not offering dramatized gossip; rather, he confronts us with the depths of moral ambiguity that haunt us all. The ten parts of The Decalogue, like all of Kieślowski’s later films, are distinguished by the artistry of the dialogue, performances, cinematography, and musical score.
I Am The Lord Thy God (Decalogue 1)/Dekalog 1
In taking the First Commandment as their starting point, Kieślowski and Piesiewicz address the question of God’s very existence and contemporary man’s creation of false idols. Krzysztof, a scientist, introduces his beloved little son, Paweł, to the mysteries of the personal computer, a machine which he believes to be infallible. It is not by accident that Kieślowski and Piesiewicz have made the computer an idol – avoiding a literally Biblical interpretation of God’s commandment. It is winter, and Paweł, anxious to try out a new pair of skates, asks his father if he can go out to the local pond which has just frozen over. They consult the computer and determine with great precision and with more than a safe margin of error that the ice will hold the boy’s weight. But an unpredictable convergence of meteorological factors is about to threaten the scientist’s faith – and more.
Thou Shalt Not Take the Name of Thy Lord God in Vain (Decalogue 2)/Dekalog 2
The head of an intensive care unit is a lonely, older man who enjoys a stable life and the faded memories of his youth. The tranquility of his life is abruptly shaken when the fate of an unborn child is unexpectedly placed in his hands. The expectant mother (Krystyna Janda) is a young violinist whose husband is in critical condition in that very ward. But the child was fathered by another. The violinist has calculated that if her husband lives, she will have an abortion. If he dies, she will have the baby and join its father. What she needs is a clear-cut prognosis. She demands one of the doctor, but her capacity for cold calculation in the most dramatic of circumstances fills him with revulsion, as does the realization that on his prognosis hangs the life of the child. The expectant violinist is not above using God’s name to extract a sworn statement. But the doctor is not above lying to save a life.
Honor the Sabbath Day (Decalogue 3)/Dekalog 3
Daniel Olbrychski plays Janusz, a young man who lives with his family. It is Christmas Eve, a night when families are together and nobody wants to be alone. Janusz’s family maintain the superficial formalities of piety, which results in empty rituals on Holy Night, and may account in part for a streak of insincerity and hypocrisy in Janusz. It should be no surprise that part Three is about much more than dishonoring the Sabbath. Janusz’s ex-lover, the determined Ewa, spoils this Christmas Eve by craftily luring Janusz from the apartment and his family to wander with her through the city, and with various excuses tries to keep him with her for the night. Their break-up, it had always seemed to Janusz, had been by mutual consent: Ewa had agreed to him returning to his family. But now it seems that her agreement had been a pose forced by circumstances. In fact impetuous and downright predatory, she now tries to revive their relationship. Janusz wants to go home but Ewa is adamant. They part at dawn. One critic observed that Kieślowski presents “the madness of love in its most onerous phase, when it has lost almost all its positive features and, intense as ever, is transformed into a destructive force.”
Honor Thy Father and Thy Mother (Decalogue 4)/Dekalog 4
In his approach to the Fourth Commandment – the first of the seven dealing with human relations – Kieślowski focuses on the taboo against incest. A subtext of potential incest underlies the delicate play of feelings and emotions that unfold between Anka and her father, with whom she has been living since her mother died when Anka was 10. While he is away on a business trip she finds a letter written by her mother on her deathbed and addressed to Anka, claiming that her husband was not the girl’s real father. There may be reason to doubt that, but Anka believes it, and accuses her alleged father of deception. The family tie that bound father and daughter now seems suspended. A different relationship emerges between Anka and Michał as Anka subtly tries to seduce him.
Critics have agreed that “Decalogue 4” is one of the most remarkable of the whole series, praising the director, set design, and cinematography, but most of all the actors: Adrianna Biedrzyńska and Janusz Gajos, who created characters of extremely different temperaments, inwardly rich and complex.
Director: Krzysztof Kieślowski
Producer: Ryszard Chutkowski
Screenplay: Krzysztof Piesiewicz, Krzysztof Kieślowski
Cinematography: Wiesław Zdort, Edward Kłosiński, Piotr Sobociński, Krzysztof Pakulski (Episodes 1-4)
Editor: Ewa Smal
Music: Zbigniew Preisner
Production Company: Polish Television, “Tor” Film Studio, Warsaw, Poland, Sender Freies (West Berlin)
Henryk Baranowski, Wojciech Klata, Maja Komorowska, Krystyna Janda, Aleksander Bardini, Olgierd Łukaszewicz, Daniel Olbrychski, Maria Pakulnis, Joanna Szczepowska, Adrianna Biedrzyńska, Janusz Gajos, Adam Hanuszkiewicz, Artur Barciś (Episodes 1-4)
Krzysztof Kieślowski: Venice International Film Festival “Young Cinema” Award, 1989
Krzysztof Kieślowski: Venice International Film Festival FIPRESCI Prize, 1989
Krzysztof Kieślowski: Montreal World Film Festival Critics Award, 1989
Krzysztof Kieślowski: Sao Paolo International Film Festival Film Critics Award, 1989
Krzysztof Kieślowski: San Sebastian International Film Festival OCIC Award, 1989
Krzysztof Kieślowski: Dunkirk International Film Meeting Critics Award, 1989
Krzysztof Kieślowski: Silver Reel Association of Italian Film Critique – Best Foreign Film Presented in Italy, 1990
Krzysztof Kieślowski: “Golden Screen” (from “Ekran” (Screen) magazine) – Best Director of 1989, 1990
Krzysztof Kieślowski: Bodil Award for Best European Film, 1991
Krzysztof Kieślowski: Special Award of the US National Society of Film Critics (NSFC) for outstanding achievements in foreign film, 2000
Photograph: Telewizja Polska S.A.
The films of Krzysztof Kieślowski in world film posters
The films of Krzysztof Kieślowski in world film posters exhibition is a poster tribute highlighting the rich trajectory of films of the acclaimed Polish director Krzysztof Kieślowski. Curated by the Film Museum in Łódź (Muzeum Kinematografii w Łodzi), the exhibition consists of 45 film posters featuring some of Kieślowski’s most critically lauded films, made in the years between 1976 and 1994.
Posters designed by such renowned artists as Andrzej Pągowski , Jakub Erol, and Andrzej Krauze are a major highlight of the selection, which are a combination of both graphic and photographic poster styles, and also include Andrzej Pągowski’s poster for the 1979 drama “Camera Buff” which was awarded by the magazine, “The Hollywood Reporter”.
The exhibition presents posters designed in various languages apart from English and Polish including those in Spanish, Italian, Korean, Dutch, Czech, German, French, Russian, and Hungarian.
The exhibition was previously presented in Düsseldorf, Leipzig, Trondheim, Bari, Budapest, Singapore, Jerusalem, Haifa, Cáceres, Corinth, Paris, and Stuttgart.
The exhibition is co-financed by the Polish Film Institute in Warsaw and the Ministry of Culture and National Heritage of Poland.
The exhibition has been brought to India by the Polish Institute, New Delhi. It also being presented at the International Film Festival of India, Goa as part of a Kieślowski retrospective to mark the 25th anniversary of the premiere of Kieślowski’s cult-classic series The Decalogue.
Photograph: Archive of Film Museum in Łódź
ABOUT THE DIRECTORS
Photograph: Zjednoczenie Artystów i Rzemieślników Sp. z o.o.
Andrzej Jakimowski was born in Warsaw in 1963. He studied philosophy at Warsaw University and film directing at the Krzysztof Kieślowski Katowice Film School. His debut feature Squint Your Eyes (2003) won the Main Prize at the San Francisco IFF in 2004, the Main Prize at the Sochi IFF in 2004, and a FIPRESCI special mention at the Mannheim-Heidelberg IF in 2002. Squint Your Eyes also received four Polish Academy Awards – the Golden Eagles in 2004 for Best Picture, Best Director, Best Screenplay and Best Actor. Jakimowski’s second feature film Tricks (2007) won over 30 prizes at international film festivals and was the Polish Oscar entry in 2009.
1991: Aftersound (Pogłos)
1994: The Town of Shadows (Miasto cieni)
1997: Ding-Dong (Dzyń, dzyń)
1998: 32, Wilcza Street (Wilcza 32)
2003: Squint Your Eyes (Zmruż oczy)
2005: Solidarity, Solidarity [Bag] (Solidarność, solidarność [Torba])
2007: Tricks (Sztuczki)
Photograph: Telewizja Polska S.A.
Director of documentary and feature films, screenwriter. Born in 1941 in Warsaw, Kieślowski passed away in his hometown on 13 March 1996. He began his studies in filmmaking at a technical theatre college, and thereafter worked at the Warsaw Contemporary Theatre (Teatr Współczesny). He continued to study and graduated from the state Higher School of Film, Television and Theatre in Łódź in 1968, and received his directing degree in 1970. One of the greats of European cinema, he gained worldwide renown for The Decalogue series, The Double Life of Veronique, and Three Colors: Blue, Red and White. Kieślowski is widely regarded as a filmmaker of unparalleled merit whose simple stories dealt with difficult, fundamental and universal questions about complex human feelings. Present throughout his oeuvre, he asked and attempted to answer “How should one live?” In an interview Kieślowski said, “Everyone wants to change the world whenever they make the effort to do something. I don’t think I ever believed the world could be changed in the literal sense of the phrase. I thought the world could be described.”
1973: The Underground Passage (Przejście podziemne)
1975: Personnel (Personel)
1976: The Scar (Blizna)
1976: The Calm (Spokój)
1979: Camera Buff (Amator)
1981: A Short Work Day (Krótki dzień pracy)
1981: Blind Chance (Przypadek)
1985: No End (Bez końca)
1988: A Short Film About Killing (Krótki film o zabijaniu)
1988: A Short Film About Love (Krótki film o miłości)
1989: The Decalogue (Dekalog)
1991: The Double Life of Veronique (Podwójne życie Weroniki)
1993: Three Colors: Blue (Trzy kolory: Niebieski)
1994: The Colors: White (Trzy kolory: Biały)
1994: Three Colors: Red (Trzy kolory: Czerwony)
Krzysztof Krauze and Joanna Kos-Krauze
Photograph: New Europe Film Sales
Born in 1972, Joanna Kos-Krauze is a screenwriter, director and author of television programmes. She worked as an worked as assistant director on Krzysztof Krauze’s My Nikifor (Mój Nikifor) and co-directed the award-winning feature Savior Square (Plac Zbawiciela). Kos-Krauze is head of the Screenwriting Section of the Polish Filmmakers Association, and a member of the Artistic Council at Munk Studio. She currently lectures at Collegium Civitas.
Krzysztof Krauze is one of Poland’s best-known directors and screenwriters. Born in 1953, he graduated in cinematography from the Łódź Film School. He is the author of several short features, documentary films and TV movies, and a winner of multiple awards for all his feature films (Gdynia, Philadelphia, Karlovy Vary, Valladolid).
1988: Nowy Jork – cwarta rano
1996: Street Games (Gry uliczne)
1999: The Debt (Dług)
2004: My Nikifor (Mój Nikifor)
2006: Savior Square (Plac Zbawiciela, co-directed with Joanna Kos-Krauze)
2013: Papusza (co-directed with Joanna Kos-Krauze)
Photograph: Tramway Films
Born in 1964 in Katowice, Maciej Pieprzyca graduated in screenwriting from the Łódź Film School, and in film directing from the State Film School in Katowice. Thereafter, he worked as a journalist and television/film scriptwriter. He has received numerous awards and distinctions at international film festivals for his documentary films including The Different, By Knock-Out, Am A Killer (Turin, Tel Aviv, Kraków, Łódź), as well as for the TV films Inferno and the Feast of St. Barbara. He debuted in 2008 with Splinters (Drzazgi) which received the Best Actress Prize at the Cairo IFF 2009, among others.
2001: Inferno [in:] Pokolenie (Generation; TV)
2005: Barbórka (TV)
2008: Splinters (Drzazgi)
2013: Life Feels Good (Chce się żyć)
Photograph: Scorpio Studio
Born in 1959, Pasikowski graduated in cultural studies from the University of Łódź and in film directing from the Łódź Film School. He is the author of several award-winning films of the 1990s including Kroll, and Pigs (Psy), and co-author of the screenplay for Andrzej Wajda’s Katyń. His feature Aftermath (Pokłosie) won the Journalists’ Award at the 2012 Gdynia Film Festival. In 2013, Pasikowski received the Jan Karski Award and the Yad Vashem President’s Award at the Jerusalem Film Festival.
1992: Pigs (Psy)
1994: Pigs 2 (Psy 2. Ostatnia Krew)
1996: Bittersweet (Słodko-gorzki)
1998: Demons of War (Demony wojny wg Goi)
1999: Operation Simoom (Operacja Samum)
2003-2008: Glina (TV series)
2012: Aftermath (Pokłosie)
2014: Jack Strong
Photograph: Portobello Film Sales
Director and screenwriter. Paweł Pawlikowski is a Polish-born, UK-based, BAFTA Award-winning filmmaker. He was born in Warsaw but left Poland at the age of 14 to live in Germany and Italy, before moving to the UK in 1977. He studied literature and philosophy at London and Oxford and started making films in the mid-1980s. Paweł’s early work was in documentaries for the BBC. His best known documentaries from that period include From Moscow to Pietushki, Dostoevsky’s Travels, Serbian Epics and Tripping with Zhirinovsky which between them won an Emmy International, Prix Italia, the Grierson and two Royal Television Society Awards alongside many other prizes around the festival circuit. In 1998 Pawlikowski moved into fiction with the small budget made-for-TV film Twockers, which he co-wrote and directed with Ian Duncan and is strongly rooted in his early experience with documentary. This was followed by two full length features, Last Resort and My Summer of Love, both of which he wrote and directed and which both won BAFTAs, as well as other awards at festivals around the world.
2000: Last Resort (Ostatni wyjście)
2004: My Summer of Love (Lato miłości)
2011: La Femme du Vème (Kobieta z piątej dzielnicy)
ORGANIZATIONS AND INSTITUTIONS PROMOTING FILM CULTURE IN POLAND AND ABROAD
New Horizons Association
The main mission of the Association is to promote all forms of the arts and their distribution, mainly by organizing film festivals, events and special screenings. The key event organized by the New Horizons Association is the New Horizons Festival in Wrocław .
Kraków Film Commission
Thanks to an agreement between the Marshal Office of the Małopolska Region and the City of Kraków, the Kraków Festival Office established in 2010 a new structure that was responsible for supporting film and television productions in the form of the Kraków Film Commission. The main responsibilities of the Film Commission involve giving the maximum possible assistance when dealing with administration and film production, ensuring that all the required permits are obtained, and that the production has the full cooperation of the local authorities, as well as access to public locations within the entire region.
Kraków Film Foundation
The Kraków Film Foundation is the main organizer of the Kraków Film Festival, the Kraków Film Market and co-organizer of the Dragon Forum. In 2006 the Foundation created the Film Promotion Agency which promotes Polish documentaries, animations and short films abroad. In 2007 the KFF joined forces with the Polish Film Institute and launched a new project known as POLISH DOCS dedicated to documentary films. The KFF organizes screenings of Polish films and promotional events at key festivals and film markets.
Łódź Film Commission
The Łódź Film Commission is a member of AFCI – the Association of Film Commissioners, the first of its kind in Poland. Its major task is to provide filmmakers with full assistance; for example in finding film locations, obtaining permissions, and promoting Łódź as a friendly region for film, television and multimedia productions as well as for other audiovisual initiatives.
Museum of Cinematography in Łódź
The Museum has a unique collection of optical equipment, dating back to the pre-film era, as well as a collection of filming equipment. It also takes pride in a large collection of Polish and foreign film posters from the 1920s and 30s, film stills, equipment, set design projects, programmes, documents and mementos of renowned filmmakers. The Museum houses its own collection of films which have become the canon of Polish and Eastern European countries’ cinematography.
National Audiovisual Institute
The National Audiovisual Institute was established in 2009 as a consequence of the reorganization of the Polish Audiovisual Publishers organization. The mission of the National Audiovisual Institute consists in the systematization, digitalization, and distribution of reconstructed and digitally recorded materials, and the publication of these on a multimedia website, where those interested will find both archival materials which so far have not been accessible to a wider audience and new broadcasts produced in recent years. The National Audiovisual Institute is a partner of the School Film Archives – the most recent project of the Polish Film Institute and the Ministry of Culture and National Heritage of Poland. The project was launched in order to provide Polish schools with packages of feature, documentary and animated films.
National Film Archive
The National Film Archive in Warsaw, a member of the European Federation of Film Archives, has the greatest collection of films and archive records in Europe. The aims of the National Film Archive mainly focus on the preservation of Polish cinema and selected items of world cinema, their systematic conservation and archiving of all collected items and records. The film catalogue holds approximately 15,000 titles. The National Archive also owns an impressive collection of books, film posters, periodicals, film programmes, scripts, film stills, directors’ scripts, newspaper clippings and other archival records.
The National Film Archive lends out archived film prints and co-organizes many reviews of Polish films abroad and of foreign films in Poland. As part of the National Film Archives, the Arthouse Cinema Network provides support to the distribution of Polish and foreign arthouse films.
Polish Film Institute
The Polish Film Institute (PISF) is the newest film institute in Europe, established in 2005 in accordance with a new cinematography law passed by the Polish Parliament. It is set up similar to the mechanisms of support for the film industries in many other countries of Europe. The Institute’s principal task is to provide the Polish film industry with a modern mechanism of support – from the development of film projects, through production, to promotion, distribution and circulation of Polish and European films. The Polish Film Institute wants to draw Polish viewers back into theatres to watch Polish films and, at the same time, to make them worthwhile to watch and accessible to international audiences, particularly in Europe.
THE POLISH INSTITUTE TEAM
Anna Tryc-Bromley, Director
Przemysław Grabowski, Deputy Director
Aneta Święcicka, Visual Arts, Design and Theatre Programmer; EUNIC Coordinator
Gauri Sharma, Literature, Film and Music Programmer
Rupinder Kaur Bhalla, Assistant to the Director