Directing
Plebania is a Polish soap opera broadcast from October 5, 2000 to January 27, 2012 on TVP1. The series is about the lives of ordinary people in the fictional Polish village of Tulczyn. The plot revolves around the family, religious, and social issues of the village inhabitants with central roles played by a parish priest, his family and friends, and a wealthy business man known for shady dealings. Plebania is the second-longest Polish soap opera.
No description available.
The film traces two families, one of which is Jewish, who preserved the images for decades but hadn’t brought them to light. 80 years after their creation, the son of the photographer finds the forgotten negatives and launches an investigation. With a team of researchers, archivists, and animators who use near-forensic precision to reconstruct locations and contexts, they trace the circumstances of those tragic days and the lives captured in each frame.
The documentary film is based on reconstructed archival films of the 1920 Polish-Soviet war, which ended in one of the greatest military successes of the Polish nation. The film also uses radio recordings, accounts of participants and witnesses to the events, as well as archival material testimony that has survived to our time: photographs, orders and records of secret reports. Polish Television carried out a digital reconstruction of century-old, previously unpublished archival films, including those from Soviet Union, France, Great Britain, the Czech Republic, Hungary and the USA.
On the same day, two women, Anna from Poland and Maria from Germany, give birth to sons in a hospital in Gdańsk. Eight years pass, and there is no indication that their paths will ever cross. However, one day, Anna's son Tomek has an accident. When his father wants to donate blood for him, tests show that Tomek is not his son. This news comes as a shock. Anna, accused of infidelity, tries to prove her innocence. She begins to suspect that eight years ago, in a hospital in Gdańsk, someone may have mixed up the babies. She decides to find Maria and her son to dispel or confirm her suspicions...
Unique archives show a world that no longer exists: pre-war Poland in which two cultures: Jewish and Polish, coexisted wall-in-wall; cottage in a cottage; town next to town. "Po-lin" - meaning "we will stop here" in Yiddish - does not deny the painful past. It only shows that there was something more next to them. Worth remembering and - perhaps - reconstruction.
Eugeniusz Kwiatkowski is a widely forgotten politician and economic activist who greatly contributed to Poland’s growth. Where did he come from? What is the secret to this phenomenon of a man whose initiatives form the basis of the Polish economy to this day? Why was he so ruthlessly banished from public life?
After a con-man is released from prison, he gradually gets back to his old tricks, but his cons grow ever more elaborate and travel steadily up the ladder of society until he has local politicians and important government ministers involved in his schemes.
Zanussi has described the film as his most autobiographical work. A young boy in post-World War II, Communist-dominated Poland, whose father's decision to remain in Britain after the war has made his family politically-suspect with the local Party authorities, is sent by his mother to stay with an "aunt" (in reality an old family friend) in Warsaw.
Christina, a 32-year-old journalist, actually wanted to go on vacation in Provence. But a colleague breaks his leg and of course she has to stand in for him. Shortly before her departure to Masuria, her car is stolen and Christina's grandmother Elsa only lends her the car if she can go with her. Christina really likes her grandmother, but as a travel companion she is a pain in the neck and Christina is constantly at loggerheads with the Polish photographer Marek. But this trip will change the 32-year-old journalist's life. Christina finds out why her grandmother is accompanying her.
