Karolina Dryzner

Kryminalni was a Polish crime drama television series that aired on TVN network from September 18, 2004 until May 24, 2008. It ran for 8 seasons and 101 episodes were broadcast in total. It was created by Polish director and screenwriter Piotr Wereśniak and produced by MTL Maxfilm studio. The series followed life and work of police officers from the elite Criminal Terror and Murders Division of the Warsaw Metropolitan Police; the title refers to police officers in the crime section. The three main characters were Adam Zawada, an experienced, tough cup, his younger colleague Marek Brodecki and Barbara Storosz, an ambitious female officer who in the first season joins the team just after graduating. Although none of the main actors had had star status before the series debuted, all three of them rose to prominence and popularity during the 5-year-long run. Many of Poland's best known actors guest starred, usually playing roles of people involved in just one particular investigation. The serial was one of the most popular in Poland: each week it had an audience of 4 million.

Ekipa is a Polish political drama TV series created and directed by Agnieszka Holland, aired from 13 September 2007 until 6 December 2007 on Polsat. Ekipa is the second Polish political fiction series after the 1980s miniseries The Career of Nicodemus Dyzma.

Moody, dark and handsome Dominik is terrorized at school after video footage of his drunken kiss with classmate Aleksandr goes viral. Grappling with public humiliation, Dominik seeks solace in an avatar based 'suicide room' where the pink-haired rebel Sylwia consoles him.

Irena Sendler is a Catholic social worker who has sympathized with the Jews since her childhood, when her physician father died of typhus contracted while treating poor Jewish patients. When she initially proposes saving Jewish children from the Warsaw Ghetto, her idea is met with skepticism by fellow workers, her parish priest, and even her own mother Janina.

Renee wakes up one morning in the middle of the desert with blood on her hands. She cannot remember why she is there, how she got there or with whom she came. Her quest to uncover forgotten events leads her on a journey of discovery where reality and memory collide and people are not what they seem.

Olka is seventeen years old. For years, she had been looking for her mother. Her constant escapes from the orphanage landed her in a reformatory. She only wants her mother back.

Polish countryside of the 80s. It is Sophia's birthday. She is waiting for the arrival of her daughter Amelia and her husband Taddeusz, who have been living in Canada for 10 years. Suddenly Amelia arrives alone. The real reason for Amelia's emigration and the brutal truth about her father reveal and this is only the beginning of the intricate story of the family. Canadian Dresses - a symbol of a lost childhood, a mother who forces her decisions, the true passion and a theft of jewelry - are just a taste of the story, ironically depicted through the eyes of a small observer, a 9-year-old boy.

At a time of nascent capitalism, Peter made his fortune in the textile industry not only through his knowledge of fashion trends, but above all through his ability to establish close relationships with women. The life of a pantyhose manufacturer can sometimes be very funny. This is because they have opened the gates to paradise for him...

Using the backdrop of the banality and ordinariness of everyday life in a small provincial town, the film analyses the relationship between two women friends, who struggle to find their way in post-communist Poland. The small events of their lives represent universal feelings of being trapped and lost in a new world, in contrast to the successes of the dark side of democracy - drug dealing, crime and pornography. By its very nature, the film creates a picture of provincial Poland after democracy, but its charm is in the understated relationship between the two friends and the people around them and in the mosaic structure that builds up the film piece by piece.