2017 Edition


Lead text by Dorota Paciarelli
Program Director of the festival, curator of Re:interpretations section


When was the last time when you laughed and what did you laugh at? There was not much to laugh about during last year’s festival screenings at Sokołowsko Film Festival Hommage à Kieślowski, but it was not laughter that we aimed at. Such films as Death in Sarajevo by Danis Tanović. Fuocoammare by Gianfranco Rosi, No End by Krzysztof Kieślowski, I, Olga Hepnarová or The Lawyers – A German Story, despite their complexity, were received with acclaim, although, in the context of difficult subjects, I should write: they moved us and opened our eyes to suffering and brotherhood. They made me feel sad that the European history of freedom, equality and brotherhood is coming to an end. Judging from the discussions that followed, the young audience felt the need for change and expressed refusal to build fences and walls in Europe. Perhaps it is true that there is something magical about Sokołowsko and the people who come year after year and participate in the events organised by IN SITU Contemporary Art Foundation?

Last autumn, during my walks in a park along the lane leading to the former Dr Brehmer sanatorium and Zdrowie cinema, my attention was caught by a piece of paper fixed to the lantern, reading “Whoever you are – I wish you well”. I like this message. The same message noticed Krzysztof Piesiewicz on the first day of the festival on his way to a meeting with the audience and a discussion with his German colleague Nicolas Becker, with whom we talked about the significance of law and its functioning in the “years of lead” of the 1980s, being a lawyer and a defender in political trials and about the role of culture in life.

When the festival was over, I thought that in 2017 I want to bring back two films written by Krzysztof Piesiewicz and Krzysztof Kieślowski, at some point in time wrongly received by a part of the film circles and some film critics. A comment on its reception, humorous and typical for Kieślowski: they pinched me a bit, but not too much. These two films are Three Colours: White (1994) and Dekalog: Ten (1988/1989). I also immediately recalled Reverted, a film by Kazimierz Kutz made in 1994 for TV and shown in cinemas. I thought that Reverted, watched together with White, may tell something important to the young audiences who do not remember the times of Solidarity and the beginnings of Polish capitalism, something about Poland from that era, their parents and grandparents; that these two films, with marvellous creations of Zbigniew Zamachowski, talking about people in conflict with their own conscience, facing loss of love, trust, sense of brotherhood, personal integrity, combined with currently trendy irony and humour, are invitation to a multigenerational conversation and to experience strong emotions. The humour of these films, their bitter truth and irony, as well as self-irony of their authors, the use of mockery as a form of protest, and, last but not least, unforgettable and moving acting interpretations by Zbigniew Zamachowski set out an interesting direction for the quest of this year’s edition of the festival. A mini retrospective of films starring Zbyszek Zamachowski (there are four) is our expression of gratitude for his personality, humour, kindness and artistic courage, for the art of creating seemingly common characters, who rise above their own limitations in unusual circumstances. On the one hand, characters that are typically Polish, “our own”, on the other – sometimes endearingly clumsy, acted out as if Zamachowski’s brother or teacher was Charlie Chaplin, to whom the actor is often compared by Polish and international critics. A character of a Polish hairdresser, a misfit bearing a bizarre name Karol Karol, full of complexes in encounters with elegant French women and shy in contact with women in general in White, adventures of Tomasz Siwek, a simple worker at a Silesian power station, who believes in love and human kindness in Reversed and Artur, who does not understand “why people desire to possess something so much” in Dekalog: Ten – they all bring us to laughter through tears and, subtly supported by masterful staging of Kutz and Kieślowski, camera work, music and editing, bring this mysterious catharsis, described by medical professor Andrzej Szczeklik in his book Katharsis. O uzdrowicielskiej mocy natury i sztuki (Catharsis. The healing Power of Nature and Art).

Without our local and regional partners, volunteers and all people of good will involved in festival service and technical assistance, without the trust of Krzysztof Kieślowski’s family or solidarity of his friends, support from colleagues at such festivals as Off Cinema in Poznań, Okiem Młodych in Świdnica, without scientific and conceptual assistance from film and cultural experts at Adam Mickiewicz festival, professor Mikołaj Jazdon, Piotr Pławuszewski, Rafał Koschany, or kindness of Stanisław Zawiśliński – the initiator of live Krzysztof Kieślowski Archive, run by In Situ Foundation, without the trust or proven help from the local authorities of Sokołowsko, its residents, the mayor of Mieroszów and the president of Wałbrzych and many other people, including our families and friends, the 7th edition of Sokołowsko Film Festival Hommage à Kieślowski would not take place. It is thanks to them and the audience that for four days the festival is going to become a celebration of film at ease, without red carpets, long speeches or galas, that will approach seriousness of life, words of wisdom from manuals on optimisation of the sphere of sex, work, image or success with a pinch of salt and distance.

What exactly is the art of irony? For Milan Kundera, every novel is ironic art, but this art is difficult to define. Its truth is hidden, unspoken and actually unspeakable. According to Kundera, irony irritates. Not because it is mocking or assailing, but because it deprives us of certainty, revealing the world’s ambiguity. Nothing is more ambiguous, more impenetrable thank irony, writes Leonardo Sciascia, an Italian writer and expert in irony used by mafia bosses, those in white collars and in Armani suits, those from the upper classes and from the very bottom. Visible in all “funny stories”, present during this year’s festival in the sections Hommage à Kieślowski: Re:interpretations and No Fiction!, the understatement of truth, hiding it with the art of irony and self-irony aims at avoiding moralising approach, so despised by contemporary audience, and leaving the viewers alone with questions on who actually is right in that particular story, who is the “pathetic”one,”naive” or the “modern”one. Does national humour exist in film? Influenced by place of origin and culture in which we have been raised, a sense of humour specific for particular environment or region? And was Ionesco right to claim that Euopean history of laughter is reaching its end? Is there a Christian sense of humour? What can you laugh at, and at what, according to contemporary social and cultural norms, you should not?

Films, as long as their authors are sensitive to what surrounds them and able to notice what is hidden, are a certain kind of a seismograph. They record imperceptible changes that evade scientific analyses and political prognoses occurring in us, our communities and societies. Such films we were searching for and have found them for you. There was a lot of them, but for different reasons we cannot show them all. Those that you will see this year confirm the good condition of Polish and European cinema and prove the existence of an interesting young generation of Polish, Italian and Czech directors.

The selection is a subjective decision made according to our inner imperative which is: we show what we like and is worth a conversation. We show this with hope that Krzysztof Kieślowski would like it too if he was sitting in the cinema with us, with memory and respect to him, his attitude towards people, his occupation and artistic oeuvre that he has left behind for us. We show what we like, believing that the art of film existed, exist and will exist forever. Not only do we screen films made by Krzysztof Kieślowski, but also by his colleagues, teachers and filmmakers that influenced him at different times. We do this, convinced that time cannot obscure the light that illuminates them. We show films by young generation that have found – judging from the films – their own active way of taking the world lightly.

During this year’s discussions with invited directors, screenwriters and actors we will talk about their understanding of a film story, what they consider as art of irony and what humour in film and life consists in. Why is it so difficult to make a good comedy, while a “gloomy” social drama is easier to write? How does an actor develop comical effects in a scene? And where – according to our guests – is the thin line between irony, humour or tender cheerfulness and a wrongful cackle, derision or contempt that aim at killing everything that is different, special, distinct, individual or unique about a human being, namely – human Beauty. “I profess a nowadays unfashionable faith, the faith in a man” – once confessed the director of A Short Film About Killing and Blind Chance. Presenting films about suffering, emptiness of uniformed life of a so-called modern man and destructive power of nationalism that stands against Christian values, we follow this message. Examples of such feature films include a Hungarian drama On Body and Souldirected by Ildikó Enyedi (Golden Bear at Berlinale 2017) presented in Sokołowsko before it hits Polish cinemas; Serbian Herd by Nikola Kojo with typical Balkan humour mocking show business, media and politics; Journey to Rome, a debut film by Polish director Tomasz Mielnik and Czech screenwriter Vít Poláček; Lost in Munich, a Czech production touching upon the subject of Czech national trauma (the Munich Agreement) directed by Petr Zelenka, one of the creators of European cinema “with a pinch of salt”, surprising with virtuosity and sophistication of his narrative forms. Through conversations with invited directors and screenwriters, and – in the case of films starring Zbyszek Zamachowski – with him, Kazimierz Kutz and Krzysztof Piesiewicz, we will try to learn about their perception of the art of irony and humour, what makes them laugh in the cinema, how they remember Krzysztof Kieślowski, about their own film work and if perhaps they would play their roles or tell their stories differently now. We will also raise subjects at the intersection of science and culture, for example during a public debate organised in collaboration with Berlin-based Krzysztof Kieślowski Forum e.V. association supporting culture and cultural education, as well as during discussions accompanying the screenings. Through our scientific collaboration with Adam Mickiewicz University in Poznań, we hope to incite young people’s enthusiasm for attentive reception of films, meeting with sociology of film and media, film studies, psychology and cultural studies. Tomasz Kozłowski, a young cultural sociologist, columnist of, i.a., “Odra” magazine and the head of Education and New Media Department at Collegium Da Vinci in Poznań will share his observations on the results of research into irony and humour as forms of protest, as well as on the causes and effects of attempts to “escape the clutches of happyterrorism in times of hypercapitalism”. Rafał Koschany, a Ph.D. in Cultural Studies at Adam Mickiewicz University in Poznań, the author of recently reissued book Przypadek. Kategoria egzystencjalna i artystyczna w literaturze i filmie (Coincidence. Existential and Artistic Category in Literature and Film) and a co-moderator of festival meetings will share his thoughts on (semantic) meaning of body in film and culture, on physical impact that films have on our body and what happens to us when we watch them.

We are especially happy about the presence of Czech cinema at this year’s festival. Older viewers remember well the times of unreal socialism and a funny saying, uttered with a sigh when attempts to arrange something in public offices were getting complicated to the point of absurdity or when nobody was able to understand lengthy disquisitions of the secretary of the party or neighbours arguing in the backyard: “Czech film, nobody knows anything”. Nowadays, what every expert at the Polish Film Institute and every second Polish producer longing for cinema made for people wishes for is Czech humour in Polish cinema. Does “this special thing” about Czech cinema that puts a smile on the faces of the viewers and perhaps also arouses some jealousy consist in the fact that Czech authors are able to make us laugh and tell stories with warm voice, without being pretentious or tense, while “our domestic” creators are not? What impact do cultural models, art, culture, historical experience of war have on Czech view of the world in film? Thanks to a joint project and partner collaboration between Hommage à Kieślowski festival, CFF, an association of Czech film clubs, and with our Czech friend Petr Vlček, a Polish scholar and film expert who loves Polish cinema as much as we do in Sokołowsko – faithfully and immensely – Czech cinema will be represented, alongside Lost in Munich by Petr Zelenka and Journey to Rome, a comedy by Tomasz Mielnik (a graduate of FAMU in Prague), by such films as Špina (Filthy), a cinema comedy directed by Tereza Nvotová, and Normal Autistic Film, an award-winning documentary by Miroslav Janek.

Kundera quotes Nikolai Gogol: “The longer and more carefully we look at a funny story, the sadder it becomes”. Few Austrian directors and comedians can convey this expression better than Josef Heider, an Austrian film star, author of satirical cabaret texts and a melancholic-perfectionist who, in his film Wilde Maus, shown in the main competition at Berlinale 2017, plays an intellectual in distress, a man in his forties on the verge of a nervous breakdown, ready for everything except for abandoning his illusions about himself, except for the truth. Pissed off at the society, young generation, his boss at editorial board of a magazine where for years he has been writing a music column, together with his new friend, with whom he probably would not have anything to say otherwise, he is planning a radical, absurd and courageous step, but will he make it?

The 7th edition of Sokołowsko Film Festival Hommage à Kieślowski will let the audience break from the hardships of everyday life and encounter the Other. Above all, however, it is a celebration of film art and tribute paid to its creators, who, by entertaining us (after all, cinema is entertainment, as Kieślowiski used to say), pump our brain with oxygen.

Light flashes in Zdrowie Cinema-theatre (we are healing with film!) and bluish afterglow above the tree branches in the park, with incredible scenery of the ruins of the former Dr Brehmer sanatorium, signify a certain rite of passage to the viewers gathered in front of the screen. It is the moment when each of us, at our own request, departs from the real world and enters the sphere of imagination, from created or observed reality into the area of illusion and what is commonly called magic of cinema. It is a state comparable to a dream or a daydream. Elicited with light.sound, movement, actor’s gesture, smooth or sharp editing and rhythm of music, the images create these “fairy tales for adults”, as Kieślowski used to humorously call his films, which for a short period of time organise our world or, on the contrary, destroy common habits and provide food for thought. Thematic diversity, abundance of rhythms and styles of presented productions make a multithreaded story about life and its transience, about suffering and its meaning.

In mythologies and religions around the world, number seven accompanying Hommage à Kieślowski was considered as a symbol of relation between time and space, entity and complement. It was supposed to provide security, bring peace and respite. Unlike the ill-fated thirteen, it is recognised as a lucky number, especially for people born in Cancer, like Zbigniew Zamachowski, or Pisces. Rainbow in the sky, formed as a result of refraction of light under a particular angle in water droplets, is made up of seven colours. According to Isaac Newton, seven colours of the rainbow: red, orange, yellow, green, blue, indigo and violet, create a rainbow arc – a symbol of tolerance and hope. Without the indigo colour, it is an international symbol and a flag of LGBT movement. The films screened at this year’s festival form a rainbow arc too. An arc of tolerance and openness that connects Sokołowsko with Europe and with filmgoers from all over the world.

Funny stories do not have to be trivial. You will see this yourselves, visiting Sokołowsko Film Festival Hommage à Kieślowski, to which, on behalf of the organisers, authors of presented films, curators of film sections and our institutional partners I cordially invite you!

Dorota Paciarelli
Program Director of the Festival

(C) Dorota Paciarelli, 18.07.2017. All publications and use of the text require the prior consent of its author. The right to make cuts and alterations in the text reserved.
Contact: dorotapaciarelli@outlook.com

Lead text by Piotr Pławuszewski

Curator of No Fiction! documentary section


Documentaries: it is them that constitute the “No Fiction!” section of this year’s edition of Hommage à Kieślowski festival. To put it simply: we invite the audience to encounter cinema pretty much unrivalled in illustrating complexities of life and its ambiguity, evading simple interpretations and scripted schemes. Besides, proposed titles prove that artistic success of a film depends mainly on a well-thought concept of its content (what do I want to talk about?) and its implementation (how do I want to talk?). A good documentary – which, despite sounding obvious, is still worth reminding – always aims at a harmonious combination of these two layers. The Polish part of “No Fiction!” section is a great example of this. I am talking here about documentaries very diverse in their methods of observing reality and in the search of subjects worth switching on the camera. There are, however, certain common parts besides this variety. Two aspects are clear: mentioned films are connected both by the similar, recent year of their premières (with one exception, all of them are from 2016-17) and the young age of their authors. Much more importantly, though, they all circle around areas in which life gains (for different reasons) a particular intensity, revealed before the gaze of a patient, curious camera. “It is only when you describe something, that you can start thinking about it” – claimed Krzysztof Kieślowski. Presented documentaries are such descriptions – providing the audience with an impulse to carefully examine their own life spaces, even those most prosaic and ordinary ones.

Home in the title of the film by Filip Jacobson, run by two enterprising sisters, offers shelter to men of tangled biographies and lives difficult to get back on track. There is always a place for a kind word, yet no leniency is shown to (usually destructive) habits. Education directed by Emi Buchwald hides a rich seam of unconstrained comedy, but, above all, it is a story of how difficult, challenging questions on life, prompted by natural curiosity, appear in young minds within the four walls of their family homes. The same interior – illustrated in Close Ties by Zofia Kowalewska – in the context of the elderly couple is sets a background for painful, but somehow cleansing confrontations with bitter past, and for the main character in Mrs. Rena of Angels by Aleksandra Folczak, it constitutes a space for intense existence (arm in arm with her husband and an iguana) in the shadow of her illness. Yet another kind of space is a cultural centre in Aleksandrów Kujawski, whose residents are encouraged (through a competition) to creatively present their “patriotic attitudes”, which results in a marvellous – avoiding the clichés of TV and documentary features – insight in the micro-world of sincere emotions and social attitudes towards Poland’s Independence Day. If we limit the space to ….a table, we get Three Conversations on Life by Julia Staniszewska, a film in which important and most crucial matters are discussed between mother and daughter who courageously look each other in the eyes. “When will a man overcome interpersonal space?” – the question, raised by Stanisław Jerzy Lec appropriately sets the right direction for a conversation on Polish documentary film at Hommage à Kieślowski 2017. Walls, floor, ceiling, bed, chairs and tables are merely decorations. For young directors, the most important element of space remains a human being – always in relation to another person. An age-old subject, still inexhaustible in its variety.

The section is complemented (or, perhaps better put: enriched) by foreign productions. Czech cinema (already strongly present in Sokołowsko at past editions of the festival) is represented by Normal Autistic Film by Miroslav Janek, an unpretentious portrait of a group of young people with Asperger syndrome. The director wishes neither to educate, nor to play with emotions. Instead, he prefers to give the floor to his characters, considering this as the best way to reach their complex and at the same time fascinating inner selves. There are two representatives of Italian cinema. In Crazy for Football: The Craziest World Cup, Volfango De Biasi observes patients mental health departments – he does this, however, beyond the hospital walls. His protagonists are members of a football team, going to Japan for an international tournament. A film about sport? Not necessarily, since what becomes most important is the possibility to prove your worth or, however banal it may sound, the joy of acting in a group, and this has been captured by the camera lens. Different kind of watching experience provides Liberami by Federica Di Giacomo – a great example of cinema that approaches a controversial subject (exorcisms), first and foremost, with an observer’s curiosity. Following the actions of father Cataldo and the people seeking his help, we do not are not met with a horror film genre but with difficult-to-comprehend scenes of “ordinary life”.

Summing up, the films we have invited to this year’s edition of Hommage à Kieślowski provide an occasion to immerse ourselves in spaces that are either unknown (a documentary can be a good guide) or theoretically known too well to expect them to surprise us (and sometimes all you need for that is a non-obvious viewing angle). Both variants challenge the viewers, especially the ones who expect cinema to inspire them, and not to provide answers. “There is nothing worse for a documentary film-maker than conclusions drawn too soon” – claimed Kazimierz Karabasz, the classic author of Polish documentary films. We fully subscribe to this, so may the conclusions at “No Fiction!” section be drawn after screenings, after discussions with invited artists, on further consideration.

Piotr Pławuszewski © 13.07.2017
Publication of the text requires prior consent of the author.

Lead text by Mikołaj Jazdon

Curator of Hommage à Kieślowski section


In 1963, in his essay The Anatomy of the Gag, Václav Havel wrote: “The sense of the absurd, the ability to defamiliarize, the absurd humour – those are the possible routes by which the contemporary man achieves catharsis; they are possibly the only ways of “cleansing” him adequate to the world in which he lives.” Can this statement have anything to do with films by Kieślowski? Is there a place for humour in them? And if it is possible to find some “thread of humour”, does it also coil around films by other authors, related to the works by the director of Personnel (1975)? These and similar questions we wish to focus on during this year’s film screenings in the section devoted to the body of work by Kieślowski himself and the authors whose films are, in different ways, “linked” to the patron of our festival.

Taking the world with a pinch of salt refers here, above all, to three films starring Zbigniew Zamachowski. Dekalog: Ten (1988/89), a story of a daemon of greed, can already be watched as a prelude to the image of “brand new times” (coming after 1989), depicted by Krzysztof Kieślowski and his co-writer Krzysztof Piesiewicz in White (1993). It is worth looking at this film as a special variation on the subject of Modern Times (1936) by Chaplin, only made in Poland at the end of the century. Allusions to the character of Charlie the tramp can be easily read in another film with Zamachowski in the main role, that is in Reverted (1994) by Kazimierz Kutz. It will be interesting to watch these two films as works somehow complementing each other and making each other funnier. Even more interesting will be the meeting and conversation with their co-creators: Zbigniew Zamachowski, Krzysztof Piesiewicz and Kazimierz Kutz.

Humour of the world represented in the films by Kieślowski is already there in his earliest works. If it does not sparkle, then it definitelly glimmers in the short film Concert of Requests (1967) with the memorable final scene, in which a young farmer (played by Kieślowski himself) with a beret on his head and a transistor radio by his ear is walking a cow on a string in the middle of the road. Another role in this film, slightly less funny, but more typical of Kieślowski’s work or even of himself, is played by Andrzej Titkow, Kieślowski’s colleague from film school. In 1970, together they filmed – this time completely seriously – a documentary I Was a Soldier. If in the times of People’s Poland the propaganda insistently strove to sweeten the years-long hardships of compulsory military service and inject historical accounts of the war and its “splendid soldier boys” with copious amounts of pathos, then Kieślowski and Titkow effectively warned that “playing with guns”, even in the name of the highest ideals, always happens at the expense of someone’s suffering, such as the one of the blinded veterans in their film. After the screenings we will talk about both works with Andrzej Titkow.

In spring this year, the National Polish Film School in Łódż awarded honorary doctorate to an outstanding professor and a distinguished documentary film-maker, Kazimiesz Karabasz. It was under him that young Kieślowski made his first documentary The Office (1966). Years later, he thus commented on the influence that the author of The Musicians (1960) had on him: “For me, the most important person in School was Karabasz. […] Karabasz was a certain oracle, a finger that shows you where to go.” Is there any relation between the characters of Kieślowski’s early documentaries and feature films and the girl from Krystyna M. (1973), a film by Karabasz that we have included in the programme of our section? We think there is. A certain special affinity, a kind of a similar way of looking at the world with a warm, kind and very delicate smile emerges from the films both by Kieślowski and Karabasz. You can also see this in a moving portrait of the old master that Andrzej Sapija painted with his camera in a feature-length documentary Intensity of Watching (2016) that will have its Polish premiere in Sokołowsko. Andrzej Sapija, the author of films about great Polish artists: Kantor, Różewicz,Opałka, will meet the Sokołowsko audience after the screening of the film about Kazimierz Karabasz.

Mikołaj Jazdon

© Publication of the text requires prior consent of the author.



Thursday / 07.09.2017

15:00-16:00 / Old Mine, Wałbrzych
Opening of the exhibition: All the colors of Kieślowski from the Krzysztof Kieślowski Archives

18:00-19:45 / Zdrowie Cinema, Sokołowsko / Hommage à Kieślowski
Grand opening of the 7th edition of the Sokołowsko Film Festival Hommage à Kieślowski: Reverted, dir. Kazimierz Kutz, comedy, Poland 1994, 78 ‘

19:45-20:30 / Zdrowie Cinema, Sokołowsko / Hommage à Kieślowski
Film Talk # 1 with Kazimierz Kutz and Zbigniew Zamachowski; moderated by Dorota Paciarelli

20:30-21:00 / Sanatorium Open-Air Cinema, Sokołowsko / No Fiction!
Opening of the section No Fiction!: Three conversations on life, dir. Julia Staniszewska, documentary, Poland 2016, 24′, introduction: Piotr Pławuszewski

21:00-22:30 / Zdrowie Cinema, Sokołowsko
Zbigniew Zamachowski’s Recital Not only about love

21:15-23:05 / Sanatorium Open-Air Cinema, Sokołowsko /  Re:Interpretations
Lost in Munich, dir. Petr Zelenka, mockumentary, Czech Republic 2015, 105 ‘; introduction: Dorota Paciarelli

Friday / 08.09.2017

10:00-10:45 / Zdrowie Cinema, Sokołowsko / No Fiction!
Block of short films: Close ties, dir. Zofia Kowalewska, documentary, Poland 2016, 18′; Polonaise, dir. Agnieszka Elbanowska, documentary, Poland 2016, 16 ‘; Yes, this is a miracle, Workshop Group, document, Poland 2015, 10 ‘; Introduction: Piotr Pławuszewski

10:45-11.30 / Zdrowie Cinema, Sokołowsko
Discussion Panel: Film Education Program – Sokołowsko Laboratory of Culture, with the participation of Maciej Pierzchała and Ajka Tarasow; moderator: Lech Moliński

12:00 – 13:00 /  Zdrowie Cinema, Sokołowsko / Hommage à Kieślowski
Block of short films: I was a soldier, dir. Krzysztof Kieslowski, Andrzej Titkow, documentary, Poland 1970, 16′; Concert of Requests, dir. Krzysztof Kieslowski, feature film, Poland 1967, 16 ‘; Krystyna M. dir. Kazimierz Karabasz, documentary, Poland 1973, 33 ‘; Introduction: Mikołaj Jazdon with Andrzej Titkov

13:15-14:30 / Zdrowie Cinema, Sokołowsko / Hommage à Kieślowski
Intensity of Watching, dir. Andrzej Sapija, documentary, Poland 2016, 75 ‘; Introduction: Mikołaj Jazdon

14:30-15:00 / Zdrowie Cinema, Sokołowsko
Film Talk # 2 with prof. Andrzej Sapia; moderated by Mikołaj Jazdon

15:00-16:15 / Sanatorium, Sokołowsko
# 1 Krzysztof Kieslowski Forum: The Art of irony and humor in film, with the participation of Kazimierz Kutz, Krzysztof Piesiewicz, Dr. Tomasz Kozłowski; moderated by Dorota Paciarelli

15:30-17:15 / Zdrowie Cinema, Sokołowsko / Re:Interpretations
Journey to Rome, dir. Tomasz Mielnik, comedy, Czech Republic / Poland 2015, 100 ‘

17:15-18:00 / Zdrowie Cinema, Sokołowsko
Film Talk # 3 with Tomasz Mielnik and Vít Poláček; moderated by Petr Vlček

18:30-20:00 / Zdrowie Cinema, Sokołowsko / Hommage à Kieślowski
Three Colors: White, dir. Krzysztof Kieslowski, lyrical comedy, France / Poland / Switzerland 1993, 91′

20:00-20:45 / Zdrowie Cinema, Sokołowsko
Film Talk # 4 with Urszula Lesiak and Krzysztof Piesiewicz; moderated by Rafał Koschany and Dorota Paciarelli

20:45-21:10 / Sanatorium Open-Air Cinema, Sokołowsko / No Fiction!
Mrs. Rena of angels, dir. Aleksandra Folczak, documentary, Poland 2017, 10′; introduction: Lech Moliński

21:00-23:00 / Zdrowie Cinema, Sokołowsko / Re:Interpretations
Opening of the section Re:Interpretations: On Body and Soul, dir. Ildikó Enyedi, drama, Hungary 2017, 116′; introduction: Dorota Paciarelli

21:15-23:00 / Sanatorium Open-Air Cinema, Sokołowsko / Re:Interpretations
Wilde Maus, dir. Josef Hader, crime comedy, Austria / Germany 2017, 103 ‘; Introduction: Dorota Paciarelli


Saturday / 09.09.2017

11:00-12:30 / Zdrowie Cinema, Sokołowsko / No Fiction!
Normal autistic film, dir. Miroslav Janek, documentary, Czech Republic 2016, 90′; Introduction: Petr Vlček

11:00-12:30 / Sanatorium, Sokołowsko
# 2 Krzysztof Kieslowski Forum: Equality or Happyterror? with the participation of: Krzysztof Piesiewicz, dr. Tomasz Kozlowski, Tomasz Mielnik, Vita Poláček, Barbora Námerovej, Nikola Kojo, Biljana Prvanović, moderated by Dorota Paciarelli

13:00-14:50 / Zdrowie Cinema, Sokołowsko / Re:Interpretations
Herd, dir. Nikola Kojo, comedy, Serbia 2016, 100 ‘; Introduction: Dorota Paciarelli

14:50-15:50 / Zdrowie Cinema, Sokołowsko
Film Talk # 5 with Nikola Kojo and producer Biljana Prvanović; moderated by Dorota Paciarelli

16:00-17:00 / Sanatorium, Sokołowsko
Lecture by dr. Rafał Koschany: Look carefully. Interpretation of film as a sensory experience and its cognition.

16:30-18:00 / Zdrowie Cinema, Sokołowsko / No Fiction!
Libera Nos, dir. Federica di Giacomo, documentary, Italy 2016, 89 ‘; Introduction: Dorota Paciarelli

17:00-18:00 / Sanatorium, Sokołowsko
Between cinema and poetry. The promotion of the poetry volume: Pieśń pod pieśniami by Andrzej Titkov; moderated by Mikołaj Jazdon

18:00-19:00 / Zdrowie Cinema, Sokołowsko
Film Talk # 6 with Federica Di Giacomo and Greta De Lazzaris; moderated by Dorota Paciarelli

19:30-21:00 / Zdrowie Cinema, Sokołowsko / Re:Interpretations
Filthy, dir. Tereza Nvotová, Czech Republic / Slovakia 2017, 87 ‘; Introduction: Petr Vlček, Dorota Paciarelli

21:00-22:00 /  Zdrowie Cinema, Sokołowsko
Film Talk # 7 with Tereza Nvotova, Barbora Námerova; moderated by Petr Vlček

21:00-21:30 / Sanatorium, Sokołowsko
Opening of the exhibition Three Colors: White by Piotr Jaxa, musical arrangement: Magdalena Polkowska

21:30-23:15 / Sanatorium Open-Air Cinema, Sokołowsko / Re:Interpretations
Ice Mother, dir. Bohdan Sláma, Czech Republic 2017, 106 ‘; Introduction: Dorota Paciarelli

23:30-00:45 /  Sanatorium Open-Air Cinema, Sokołowsko / Hommage à Kieślowski
Intensity of watching, dir. Andrzej Sapija, Poland 2016, 75 ‘, introduction: Mikolaj Jazdon


Sunday / 10.09.2017

10:00-12:15 / Zdrowie Cinema, Sokołowsko / Re:Interpretations
Stefan Zweig: Farewell to Europe, dir. Maria Schrader, drama, Austria / Germany / France 2016, 106 ‘; Introduction: Dorota Paciarelli

11:00-12:30 / Sanatorium, Sokołowsko
The Inventory of the Czech Cinema discussion panel, with: Barbora Námerova, Petr Janyska, Petr Vlček, Vita Poláček; moderated by Dorota Paciarelli

12:30-12:50 / Zdrowie Cinema, Sokołowsko / No Fiction!
Education, dir. Emi Buchwald, document, Poland 2016, 20 ‘; Introduction: Piotr Pławuszewski

12:50-13:20 / Zdrowie Cinema, Sokołowsko
Meeting with Emi Buchwald; moderated by Piotr Pławuszewski

13:00-14:00 / Sanatorium, Sokołowsko
Masterclass with Greta de Lazzaris, camerawoman on the set of Libera Nos; moderated by Piotr Jaxa

14:00-15:00 / Zdrowie Cinema, Sokołowsko / Hommage à Kieślowski
Decalogue X, dir. Krzysztof Kieslowski, drama, Poland 1988, 57 ‘; introduction: Mikołaj Jazdon

15:00-16:00 / Zdrowie Cinema, Sokołowsko
Interview with film producer Krzysztof Zanussi; moderated by Łukasz Maciejewski

16:00-17:00 / Sanatorium, Sokołowsko
Debate about The Krzysztof Kieślowski Archives – Legal Source of Culture, with Zuzanna Fogtt, Kinga Jakubowska, Piotr Jaxa

17:30-19:10 / Zdrowie Cinema, Sokołowsko
Surprise film, 100′

19:10-20:00 / Zdrowie Cinema, Sokołowsko
Closing ceremony of the 7th Sokołowsko Film Festival Hommage à Kieślowski

20:00-20:30 / Sanatorium Open-Air Cinema, Sokołowsko / No Ficton!
Home, dir. Filip Jacobson, documentary, Poland 2016, 27 ‘; Introduction: Piotr Pławuszewski

20:30-22:10 / Sanatorium Open-Air Cinema / Re:Interpretations
Herd, dir. Nikola Kojo, comedy, Serbia 2016, 100 ‘; Introduction: Dorota Paciarelli

Event pass 8 – 10.09.2017 – 150 zł
Day pass – 60 zł
Single screening / meeting – 15 zł
Festival Opening – 20 zł
Zbigniew Zamachowski recital – 90 zł / 70 zł



Director: Josef Hader

Country: Austria, Germany

Language: german

Runtime: 103 min
Release date: 2017

Presented as part of the main competition section of this year’s Berlinale, it’s a sweet-bitter story about a middle-aged crisis. It tells the story of Georg, a well-known music critic, who one day, as a result of a cost-cutting measure in the publishing house, is fired from his job.  Job-loss is so humiliating for Georg, that he attempts to hide it from his much younger wife Johanna. That very evening, Johanna calls her husband’s manhood into question, suggesting that his aging sperm may be responsible for their failed attempts to have a baby over the last three years.

What else could go wrong? Georg vows revenge on his former employer.
Josef Hader – Born in Waldhausen, Austria in 1962. He studied German and History. When he discovered his penchant for comedy, be abandoned his studies, started writing tragicomedy and performing in cabarets. He was discovered by Paul Harther, who in 1993 made a screen adaptation of Hader’s “Indien” and cast the author in the lead role. Hader became one of Austria’s most popular and respected comedians. For the thriller “Komm, süßer Tod”, written by him, he also became known as an excellent drama actor. He earned critical acclaim for the role of writer Stefan Zweig in the biographical drama “Farewell to Europe” (2016), which was shown in Polish cinemas in the spring of 2017, Aurora Films distribution. Hader first stepped behind the camera for “Wilde Maus” and was immediately nominated for the Golden Bear at the 67th Berlinale International Film Festival.

2017 Wilde Maus / Wilde Maus


Director: Maria Schrader

Country: Austria, Germany, France

Language: german

Runtime: 106 min
Release date: 2016

Shown among others at the Locarno film festival, the film was the Australian candidate for the 2017 Academy Awards. Based on a true story, the film depicts the years of exile in the life of poet Stefan Zweig,one of the most read Austrian writers. He authored the novellas „Amok” and „Letter from an Unknown Woman”, published in Poland as part of „24 Hours in the Life of a Woman”. In the 1920s and 30s he was popular all over Europe. Despite his popularity, being a pacifist and an opponent of fascism, in the face of war he decided to emigrate from the Old Continent in 1934. After spending several years in Great Britain, the United States and Argentina, since 1941 he settles in Brazil, and the country charmed him so much, he plans to dedicate his new book to it. To this end, together with his second wife Lote, he travels the various regions of the country, even those most remote…

Maria Schrader (director, screenplay)

She was born in Hanover in 1965. At the age of 15, she started her acting career in professional theater. She studied at the Drama Department of the Max Reinhardt Seminar in Vienna, but dropped out after two years, to perfect her acting craft at the Berliner Schaubühne, under the tutelage of Mirka Yemen Dzaris. After appearances at the National Theater in Hanover, as well as stages in Bonn, Vienna and Venice, in 1988 she made her film debut in the comedy “RobbyKallePaul” directed by Dani Levy, with whom she has been associated for many years afterwards, both professionally and privately. In 1992, at the Max Ophüls Festival she won Best Young Actress for „I Was on Mars”, another Dani Levy film. In 1995, she received the German Film Award for Best Actress, for her performances in three different films. She garnered world renown for her role as Jewish underground activist in World War II torn Berlin, in the Golden Globe nominated “Aimée & Jaguar” (1999) directed by Max Färberböck. The actress not only, once again, won the German Film Award, but was also awarded the Silver Bear, at the Berlin International Film Festival. In 2007, she debuted as an independent director with „Love Life”, co-written with Laila Stieler. In 2011 she played one of the lead roles in „In Darkness” by Agnieszka Holland. Schrader’s new work, “Stefan Zweig. Farewell to Europe” was very well received by international critics and was the official Austrian candidate for the 2017 Academy Awards.


2016 Stefan Zweig: Farewell to Europe

2007 Love Life

1998 The Giraffe


Director: Ildikó Enyedi

Country: Hungary

Language: hungarian

Runtime: 116 min
Release date: 2017

Awarded the Golden Bear in the main competition section of the last Berlinale, “On body and soul” is the first feature film of the well-known Hungarian director Ildikó Enyedi in 18 yeas. Mária (Alexandra Borbély) starts her new job as a precise quality inspector at a Budapest slaughterhouse. She is a young girl, gifted with a brilliant memory, very secretive and closed off. Endre (Morcsányi Géza), the company’s chief financial officer, watches her with growing fascination. The two share a feeling they can not express in the real world. The film is often compared to Agnieszka Holland’s award-winning “Pokot”, with which they shares the same “animal” starting point. On Body and Soul is a peculiar sort of love story, that captivates the audience with humor, subtlety and an unusual approach to the theme of alienation.

Ildikó Enyedi – born in 1955 in Budapest. She studied at the local universities – first economic, later film. She also graduated from Faculté des Lettres, University of Montpellier in France. She started her career with a vengeance – the 1989 comedy-drama “My 20th Century”, about separated twins, earned her the Golden Camera award at the Cannes Film Festival. Another success came with the surrealistic “Simon the magician” (AURORA FILMS Sp. z o.o.), screened at many festivals. The short science-fiction romance “Elsö szerelem” (“First Love”) (2008) was part of the Warsaw Film Festival competition. Over the last decade, the director worked mainly for television, making among others, the Hungarian version of the popular TV series “Therapy”. “On body and soul” is her first feature film in 18 yeas.


2017 On body and soul / A Teströl és Lélekröl

2012-14 Therapy / Terápia (tv)

2008 First Love / Elsö szerelem (short)

2004 Európából Európába (doc.)

1999 Simon the magician /Simon mágus

1997 Tamás és Juli

1995 A Gyár

1994 Büvös vadász

1989 My 20th Century / Az én XX. századom


Director: Krzysztof Kieślowski, Andrzej Titkow

Country: Poland

Language: polish

Runtime: 16 min
Release date: 1970

A modest, short documentary, and one of the most moving anti-war films. In front of the camera – faces hidden behind dark glasses. After the Krakow Festival in 1971, where the film was shown (and also awarded with the Golden Kord), Grzegorz Eberhardt described this way of documentary portrayal as “Wawel heads”. Kieślowski and Titkow, who co-directed this film, show in it the terrible price that the soldiers, blinded on the field of battle, came to pay for their ‘war adventure’. The blind veterans see the world only in their dreams, and it is of these dreams they tell us of in I Was a Soldier . These dream recollections are the most memorable part of the film. The music is comprised of fragments of Johann Sebastian Bach’s works, as a primer for white boards, inscribed with topics discussed by the blind men (“I ask the doctors what time it is”, These are the dreams I have”, “It was necessary to fight”, “War is to blame”). By repeating this structure four times, the author gets us accustomed to this order: music, white board, inscription. The film ends with music and… black. While the music is there, the expected white board is not. It takes a while for the white end credits to roll. In this simple way – using sound and image – we are reminded of the state the injured soldiers found themselves in. As they regained consciousness, the world around them was pulsing with sound, but the expected images never followed.


Director: Julia Staniszewska

Country: Poland

Language: polish

Runtime: 24 min
Release date: 2016

A difficult and painful conversation between mother and daughter. The mother – a doctor, a believer and a practicing Catholic. The daughter – an agnostic, whose children were conceived by in vitro fertilization. The mother loves her grandchildren, but does not accept this method of conception. The daughter hopes her mother will change her views. The mother is torn between the love she feels for her daughter and grandchildren, and the dogma of the church. She would like her daughter to try to understand her. The film tries to understand both of them.


Director: Federica Di Giacomo

Country: Italy

Language: italian

Runtime: 89 min
Release date: 2016

In the recent years in Europe as well as the rest of the world there has been a growing demand for exorcist priests like Father Cataldo who, for many years, has been trying to help those who became possessed by “evil powers”. Without a trace of sensation, the documentary captures various cases of possession. For the residents of a village in Southern Italy, this kind of practice has become a part of everyday life.


Director: Krzysztof Kieślowski

Country: Poland

Language: polish

Runtime: 91 min
Release date: 1994

This is how Krzysztof Kieślowski described the second film of his Three Colors trilogy – as he put it – not a very funny comedy: “It’s the story of equality, understood as a negation. The slogan of equality suggests that we are all just that. I think this is not true. Nobody really wants to be equal. Everyone wants to be more equal then others. And this is our story. Karol – the protagonist – feels humiliated. All he had was taken away, and his love was rejected. He wants to rise above his position. He does everything within his power to prove to himself, and his wife, who rejected him, that he is better. He achieves his goal. He becomes more equal. But in doing so, he inadvertently falls into the same trap he set for this woman. He discovers he still loves her. And hence he has a new problem.” The screenplay was written by Kieślowski and Krzysztof Piesiewicz as a reference to the tradition of the Chaplin cinema. Karol Karol – played by Zbigniew Zamachowski – is something of a contemporary incarnation of Charlie the wanderer. The poor but clever hairdresser from Eastern Europe – from the borders of which the iron curtain was just lifted – embodies a modern man, in a new, united Europe.


Director: Petr Zelenka

Country: Czech republic

Language: czech

Runtime: 125min
Release date: 2016

Sir “P” a 90 year old gray parrot, formerly living with Edouard Daladier, the French prime minister responsible for signing the Munich Treaty, comes to Prague to give his “account” of the past events. But can he do it, being just a bird? In a series of weird events sir is kidnapped by a Czech journalist undergoing his midlife crisis. The guy has him publicly say some really controversial statements, causing a diplomatic scandal. At the end of the day it is the French who decide to assassinate their own national hero….And that’s only the half of the story.

(from: imdb.com)



Director: Miroslav Janek

Country: Czech republic

Language: czech

Runtime: 88min
Release date: 2016

Direct and thoughtful, Luka has a distinctive sense of humor; he loves movies and he writes his own screenplays. Piano virtuoso Denis is able to play demanding classical pieces; he is also incredibly intelligent and well-read. He adores The Little Prince so much that he keeps rereading it. Majda likes to rap and isn’t shy about it; her bold lyrics expose the surrounding world with disarming accuracy. Marjamka is able to tell long stories in English, while her tireless brother Ahmed is uncommonly friendly. Five remarkable children that society has consistently and unflatteringly labeled “autistic.” A foremost Czech documentarist with a unique authorial vision challenges us once and for all to stop perceiving autism as a medical diagnosis and try to understand it as a fascinating way of thinking that’s often maddeningly difficult to decipher. Because who’s to determine what’s normal – living in a constant rush while disregarding the absurdity of modern life, or wistfully seeking order, peace and tranquility in the world?


Czech Film Critic’s Award for The Best Documentary

The Czech Lion Awards  – The Best Documentary

The Czech Competition Jury Award  – One World Prague 2017

Best Documentary at One World Romania 2017

Special Jury Mention in the International Competition at CinéDOC-Tbilisi 2017


Director: Nikola Kojo

Country: Serbia, Croatia
Language: serbian

Release date:

“Herd” is a hilarious satirical comedy about life behind the camera. More often than not, a greater drama precedes the film or TV drama we see on the screen. Filmmakers, those hopeless enthusiasts who ignore the reality of life and risk their very existence in their desire to create a great work of art.
This story can be told in many different languages and in many different countries, even in many different time periods. The road to the red carpet is not all roses, it is filled with compromise, struggle, even a pact with the devil, if necessary.
It is safe to say that Herd is based on a true story about a similar project, somewhere going on this very moment and it will go on as long as there are artists and governments in this world.

Director:Tereza NvotováCountry: Czech Republic
Language: czechRuntime: 87 min
Release date: 2016

Filthy is the coming-of-age story of the seventeen year-old Lena. In love with a boy for the first time, Lena longs for freedom and adventure. Her world is shattered instantly when her teacher, whom all her classmates have a crush on, rapes her in her own home. Instead of sharing her trauma, Lena keeps it a secret, even from her best friend. Her pent up feelings drive her to attempt suicide. With her family in shock, Lena ends up in a psychiatric ward.

Among wild and similarly misunderstood kids, she discovers she is not alone in her experience. But when her roommate and the only person in the ward she likes hangs herself, Lena hits the bottom. She agrees to electroconvulsive therapy. At first, it seems to help and – apart from memory loss – Lena is well again.  But the attempt to live her old life does not last long.  Gradually, her memories come to the surface, bringing a realization that is unbearable. This time, however, she does not fall into the same abyss of self-hate and instead tries to face the trauma.


Director: Bohdan Slama

Country: Czech Republic
Language: czech

Runtime: 106 min
Release date: 2016

After her husband’s death, Hana lives on alone in the family villa. Her two sons visit her with their families, but these visits frequently end in quarrels. When Hana meets Brona, a hardy fellow, inured to winter swimming, a new world opens before her. Brona’s team-mates absorb her into their team and Hana gradually learns to overcome her fear of icy water. Her relation with Brona grows into love.

Concert of Requests
Short feature film.

Youth bus tour – an excuse to look at each other and our environment.Written and Directed by: Krzysztof Kieślowski
Cinematography: Zdzisław Kaczmarek
Edited by: Janina Grosicka
Production company: PWSTiF35 mm black and white

Director: Zofia Kowalewska

Country: Poland
Language: polish

Runtime: 18 min
Release date: 2016

Barbara and Zdzisław have been married for 45 years. Eight years ago Zdzisław left his wife for another woman. He recently decided to return to his wife. Barbara took him back. Living together proves to be difficult for the reunited couple. Zdzisław proposes to celebrate their anniversary.


Director: Oliwia Salamon, Nina Antoniewska, Anna Łukasiak, Kornel Baran

Country: Poland
Language: polish

Runtime: 20 min
Release date: 2015

What would you do, if one day, you were forced to re-evaluate your entire life? The protagonist of „Yes, this is a miracle” is a teenage girl, facing daily problems of being a young mother. With the help of her mother, she manages to combine taking care of her baby daughter, with getting a high school education and developing her hobbies. This story, although it touches on a difficult subject, is light in tone and full of hope. Everything has its time, says the main character, and looks at her uncertain future with hope.


Director: Agnieszka Elbanowska

Country: Poland
Language: polish

Runtime: 16 min
Release date: 2016

The director of the Cultural Center of Aleksandrów Kujawski announces a competition with the theme: a creative presentation of your personal patriotic attitude. Entrants are free to demonstrate their creativity without any formal constraints. Through song, recitation, gesture, by giving a speech or staging – anything goes. The eleventh day of the eleventh month arrives – Poland’s Independence Day. And on this very day, the jury, consisting of the director, the mayor, a priest and a local poetess, will select the region’s number one patriot.

Director:  Aleksandra FolczakCountry: Poland
Language: polishRuntime: 10 min
Release date: 2017The story of the unique family of Miss Rena, her husband Włodek and iguana Edek. Miss Rena is battling a serious illness, but her passion for teaching English and her love for her pet keeps her alive. Despite being aware of the end approaching, she is still filled with warmth, courage and optimism so much, that they are contagious. She is very close to her students – both as a friend and as a teacher she gives them a lot, but also receives a lot in return. They help her with her everyday struggles. Rena still tries to take great care of herself, she wants her husband to still find her attractive. They fight a constant battle of irony, but their relationship is solid. At the centre of the story is her love for an exotic animal, treated a bit like a child she could never have.EDUCATIONDirector:  Emi Buchwald

Country: Poland
Language: polish

Runtime: 20 min
Release date: 2016

A documentary showing the paradoxes of schooling. Forth grade primary school students, try to understand and interpret the poem “Education” by Julian Tuwim, with the aid of their parents.


Director: Andrzej Sapija

Country: Poland
Language: polish

Runtime: 75 min
Release date: 2016

The film “Intensity of Watching” is the story of Kazimierz Karabasz, one of the most prominent and acclaimed Polish documentary filmmakers, not without reason called the father of the Polish school of documentary film. Co-creator of the Polish School of Document, he made over thirty films, many of them now part of the Polish and international film canon. In the film Karabasz talks about his methodology with his subjects, and about his many years of film experience.



Director:  Tomasz Mielnik

Country: Poland, Czech Republic
Language: czech

Runtime: 100 min
Release date: 2015

Every person on earth has their own story. Vasek – a shy art gallery guard, who will inadvertently become an art thief, will hear many of these stories on his train journey to Rome. The film is a multidimensional, road trip comedy, that takes us on a journey in search of the meaning of life.


Director:  Filip Jacobson

Country: Poland
Language: polish

Runtime: 27 min
Release date: 2016

Grażyna and Wioletta are two extraordinary sisters who run a residential home for the homeless. Whilst many might question their use of unconventional methods, they seem to be keeping their guests bright and happy.

The film tells the story of two sisters Grażyna and Violetta, who manage the center for homeless men. The big hearts and engagement, together with the unconventional methods of the two sisters, create for the tenants the atmosphere of a real home.


Vit Polacek


Born (1985) is screenwriter, director and historian working as freelancer on several projects. His script A Girl Reading Letter At An Open Window was awarded with award for unrealized scripts in 2011 in the competition of Film foundation of RWE, Czech Republic.  He is co-author of Tomasz Mielnik´s film The Journey To Rome (2015). He did historical researches for several films including Fair Play presented in 2014 in Karlovy Vary. He worked as asistent of director in the social theatre group KunstZ in Antwerpen, Belgium. He studied screenwriting and script editing on FAMU and culture history on Arts faculty of Southbohemian University in České Budějovice.

Monika Zamachowska

monika zamachowska

Born 1972 in Wrocław in the south-west of Poland. She graduated summa cum laude from the University of Warsaw American Studies Dept. in1995. She also majored in Spanish at the Warsaw University. Since 1995 she has been a journalist and an anchor on Channel 2 Polish Public Televison (TVP2). She wrote, or co-wrote, and presented TV shows ever since appearing on the air for the first time in 1996. Those included „The Cults of Popculture” (a live popculture commentary show), Teleadwokat (a legal game-show), „Bazar” (culture commentary show) as well as celebrity interviews with Salman Rushdie, Mario Vargas Llosa, Roland Topor, Sławomir Mrożek, Andreas Vollenweider and Enrique Iglesias to name but a few. From around the year 2000 she has specialized in European affairs including Poland’s EU integration. She co-wrote and co-presented „Europejczycy” and „Witaj Europo” until launching her biggest television success hitherto, the show „Europa da się lubić” based on the French Canadian format „L’Union Libre”. The show ran for five and a half years and was broadcast in prime-time every weekend gathering audiences of 7 million at its peak time in 2004 and 2005. She moderates business conferences around the Baltic Sea Region. She has cooperated, among others, with the Baltic Development Forum moderating their summits in Helsinki 2006, Tallin 2007 and Copenhagen 2008 as well as moderating the Globe Forum Summit in Stokholm in 2005, 2006, 2007 and 2008. She hosts award ceremonies and gala events for companies from different branches of industry, commerce and culture. Among others, she collaborated with PZU, Allianz Polska, Commercial Union, AIG, AXA, ING Polska, Pekao S.A., Citibank, Volkswagen Bank Polska, Orange Polska, Basell Orlen, Enterprise Investors, Mastercard, Toyota Motor Polska, Macro, Carrefour, Netia, Motorola, Ericsson, Henkel, Generali TU, Central and Eastern European Quality Awards. In 2006-2008 she was the editor-in-chief of the most ambitious Polish luxury women’s monthly, „Zwierciadło”. In 2008, a book of 20 interviews she had conducted for the magazine was published under the title of „Lubię być Polakiem” („I Like Being Polish”). She also published a book of memoirs of her TV show and its protagonists, entitled „Moja Europa da się lubić” as well as Polish “Thelma and Louise”, a story of a trip in the footsteps of ancient Romans who travelled north, from Rome to the Baltic see in search of amber entitled “Polki na bursztynowym szlaku”. Her third book is entitled “Pożegnanie z Anglią” (“Farewell to England”). It tells a story of a Polish mother and an RAF officer’s wife who tries to find herself among the English and fails to fit in. It includes observations on the English mentality and way of life as well as tries to deals with concepts such as “small-talk” and “propriety” and is largely autobiographical. Her following book is entitled „Kuchnia kobiet” („Women’s Kitchen”) and includes several life-stories of important women in her family as well as their and the author’s favourite recipes. She has a company providing media training to individuals and companies. She specialises in the art of presentation and self-presentation, training communication skills and crisis communication as well as voice training, articulation and diction improvement. Her clients include: Polkomtel SA, ING Financial Services, BPH Bank, Wrigleys Polska, Żywiec Zdrój, Danone Polska, Gaz-System and many others. She is a winner of numerous awards, including: The Award of International News Commentators’ Club 2003, The European Screen Award of Business Center Club 2004, Telekamera 2005 (the most coveted television award in Poland), The European Medal 2005 and The ELLE Style Award „for the most stylish television personality”

Piotr Jaxa

Piotr Jaxa

Piotr Jaxa, SCS, is a cinematographer and photographer, born in Poland, has been living in Switzerland since 1982. He graduated from the Polish National Film School in Lodz and has worked as Director of Photography on a range of fictional and documentary films worldwide (his work has been shown at festivals such as Cannes, Mannheim, Krakow, Los Angeles and Berlin).

For the last few years, Piotr Jaxa has been extensively exploring the creative possibilities of digital cinematography, in independent European cinematic productions (“Going Private” by Stina Werenfels, “Hello Goodbye” by Stefan Jaeger, “Rocksteady: The Roots of Reggae” by Stascha Bader, “The War Is Over” by Mitko Panov), combining his profound experience with the 35 mm film camera, with his passion for the new aesthetic possibilities offered by digital technology. Acknowleding his contributions to this field, he was awarded the Lohn-Ammannsegg Prize in 2009 for exquisite camera work, and was invited to join the Swiss Film Academy. He has also given numerous seminars on the subject at places such as FOCAL, ZHdK (Zurich), HEAD (Geneva), CEPV (Vevey) etc.

Simultaneously he has been active as a freelance photographer, specializing in film-stills and editorial photography, that have been published in various media in Europe, USA and Japan. Following his photographic collaboration with Krzysztof Kieslowski on the set of the film trilogy “Blue”, “White” and “Red”, he prepared an exhibition entitled “Remembering Krzysztof” which has been touring the world since 1994. He is also the author of a series of photographic books: “L’esprit de Geneve” (1988), “Oh! Barcelone” (1992) and “Poschiavo, un mondo di valle” (1998).

Since 1995, Piotr Jaxa has been working on a new book and exhibition project entitled “Cinematographers” – a collection of portraits of directors of photography from around the world. So far 115 artists (from 24 countries and 4 continents) have sat for their portraits.

– IMDb Mini Biography By: Agata Jaxa

Barbora Námerová

Barbora Namerova

Barbora Námerová (1985,Bratislava)
Barbora is a Slovak screenwriter who is coming to present her debut movie Filthy. The story of Filthy has been informed by thorough research and material gathering as that’s her favourite moviemaking activity. Currently
she is working on a thriller with the theme of magic and witchcraft set in contemporary Slovakia. Besides screenwriting she has also worked on projects combining theatre and other performative arts. When she is not
writing you’ll find her watching movies – she is a cinephile with a strong interest in Argentinian and Kurdish cinema.

Adam Kruk

adam kruk

Film critic, journalist, cultural animator. A graduate of film studies at the Adam Mickiewicz University in Poznan. Laureate of the Krzysztof Mętrak Award (2012), member of FIPRESCI, the Dante Alighieri Society and the Wroclaw Film Foundation. He publishes In “Dwutygodnik”, „Kino”, „Ekrany” and „Filmweb”. He lectures at the University of Lower Silesia (ULS), Film Academy, New Horizons of Film Education and Filmoteka Szkolna. Curator of BRAVE: Forbidden CINEMA and Polish Cinema for Beginners, presented with the PISF Award (2016), in the category of film education.

Ewa Kujawińska


Cultural animator. A graduate of Polish philology in the field of film science, television and media culture. She works at the Castle Cultural Center in Poznan, where she manages the Department of Film and the Pałacowe Cinema. Since 2008, she has been the producer of the OFF CINEMA International Documentary Film Festival. She is passionate about film and literature. Loves cats, dancing and travel.

Tereza Nvotová


Tereza was born and grew up in Bratislava and currently lives in Prague. She is about to graduate from FAMU as with a Master’s in Direction. Filthy is her feature film debut. She also directs documentary movies for Czech and Slovak Public TV and is recently working on her second feature documentary about former Slovak PM Vladimir Mečiar in coproduction with HBO Europe. Tereza also writes and works as an actor in feature films.

Biljana Prvanović

Biljana Prvanovic 1Biljana Prvanovic 1

She has gained experience of production work on a wide variety of diverse projects in recent years, ranging from feature films, to TV programmes, documentaries, and an international co-production feature films.
In Serbia, she worked as a producer, executive producer, production manager in movies and TV shows:
1. Stado (producer/ executive producer) 2016
2. Mamurluci – tv series pilot (executive producer) 2015
3. Inferno (co-producer) 2014
4. Atomski Zdesna (producer/executive producer) 2014
5. Nocni brodovi (co-producer) (post-production) 2012
6. The Parade (producer, executive producer) 2011
7. St. George Shoots the Dragon (producer, executive producer) 2009
8. Pokrajina St.2 (co-producer) 2008
9. Ne skreci sa staze (TV movie) (producer, executive producer – segment 1) 2006
10. We Are Not Angels 3: Rock & Roll Strike Back (producer) 2006
11. We Are Not Angels 2 (producer) 2005
12. When I Grow Up, I’ll Be a Kangaroo (executive producer) 2004
13. Loving Glances (executive producer) 2003
14. Munje! (production manager) 2001
15. Normal People (unit production manager) 2001
16. Porodicno blago (TV series) (unit manager – 16 episodes) 1998-2001
17. Cabaret Balkan (general manager) 1998
18. Sevior by Predrag Antonijevic (location manager) 1998
19. Black Cat, White Cat by Emir Kusturica (unit manager) 1998
20. Pretty Village, Pretty Flame (unit manager) 1996
21. Vukovar, jedna prica (location producer) 1994
22. Tango Argentino (location producer) 1992
23. Time of Miracles (coordinating producer) 1989
24. Zaboravljeni (coordinating producer) 1988
She has received funding for movies on funds of the Ministry of Culture of Serbia, the Film Center of Serbia, EUROIMAGES, many municipalities and foundations, as well as films that she has worked on are among the winners of prestigious international awards.

Andrzej Titkow

05.06.17. Warszawa . Rezyser Andrzej Titkow . Fot. Albert Zawada / Agencja Gazeta

05.06.17. Warszawa . Rezyser Andrzej Titkow .
Fot. Albert Zawada / Agencja Gazeta

Andrzej Titkow, poet, director, scriptwriter, producer and academic lecturer. Born in Warsaw on March 24th, 1946. He graduated from the Department of Directing at Lodz Film School. Studied in the years 1964-1969. Earned his diploma and Master of Art title in 1972. On the 18 of April 2016 he received the degree of Doctor of Arts in film arts at Lodz Film School.

He made his debut documentary titled „W takim niedużym mieście” (“In such a small town”) in 1971.

He has produced eighty documentaries, several feature films (including the TV show „Układ krążenia”), the cinema production „Światło odbite”, as well as theater and television shows. He is the author of volumes of poetry: „Wstęp do nie napisanego poematu”, 1976, „Zapisy, zaklęcia”, 1996 and „Pieśń pod pieśniami”, 2016.

From November 2004 to July 2006, he was the deputy director of the Documentary Program Editorial Unit of TVP1 S.A.

Between 2005 and 2010 he was artistic director of the International Jewish Film Festival “Jewish Motifs” („Żydowskie Motywy”) in Warsaw.

He is a member of the Polish Filmmakers Association, the Polish Film Academy, the ZAIKS Association of Authors, the The Polish Writers’ Association, and the Polish PEN Club.

He has participated in numerous individual film reviews, both domestically and abroad. He has won many film awards.

In 2013 he was awarded the Commander’s Cross of Polonia Restituta.

Petr Vlcček


A graduate of Polish Studies and Film Studies at the Department of Philosophy at the Františka Palackého University in Olomouc. Since 2007 he works as Production Manager for the popular science film festival Academia Film Olomouc, which is the oldest documentary film festival in the Czech Republic. Since 2010 he works with the Summer Film School Festival in Uherské Hradiště, one of the oldest and best established film events in the Czech Republic, for which he prepares a selection of Polish films, both recent as well as classics. The organiser of numerous film events that showcase the work of outstanding Polish filmmakers – Agnieszka Holland, Jerzy Hoffman, Janusz Majewski, Marcin Koszalka, Leszek Dawid, Slawomir Fabicki, Magdalena Piekorz, Rober Glinski, Daniel Szczechura, Piotr Dumala, Mariusz Wilczynski. The organizer of two major retrospectives of the works of Krzysztof Kieslowski – in 2006 in Olomouc and in 2011 as part of the Summer Film School.

Greta De Lazzaris



Born in Marseille (France), Greta De Lazzaris moved to Rome in 2002 where she worked as an assistant cameraman mainly with the cinematographer Marco Onorato and director Matteo Garrone (The Embalmer, First Love, Gomorrah, Reality), and as a camera operator and director of photography for several documentaries (L’ Orchestra di Piazza Vittorio by Agostino Ferrente, Ferrhotel by Mariangela Barbanente, Nadea e Sveta by Maura Delpero, Mineo Housing by Cinzia Castania, Apolitics Now! by Giuseppe Schillaci, Pianetti di Jacopo Quadri).

On 2003 her first documentary, Rosarno, is screening in Torino International Film Festival for the Italian competition.

She also works as a still photographer and won the Cliciak Price (2016) for the stills photographies of Tale of Tales by Matteo Garrone.

She’s the cinematographer for Liberami by Federica di Giacomo (Best Film Award Orizzonti, 73e Mostra Internazionale del Cinema di Venezia)

Emi Buchwald


Emi Buchwald was born in 1991. She grew up in Dąbrowice, a small town in Mazovia. Graduated from the Directing faculty at the Lodz Film School. Before she began her education in Łódź, she completed a documentary course at the Andrzej Wajda Film School, where she realized her first short documentary “Brothers” (“Bracia”). Further feature and documentary shorts – including her diploma film “Education” (“Nauka”) (2016) have been screened and awarded at festivals in Poland and abroad. She writes the photo-blog zwyklaki.tumblr.com.

Nikola Kojo


Nikola Kojo was born on September 5, 1967 in Belgrade, Serbia, Yugoslavia. He is an Serbian actor and producer, known for Parada (2011), Pretty Village, Pretty Flame (1996) and We Are Not Angels (1992). He has been married to Aleksandra Djuric since 2006. They have three children. Nikola name comes from the great-grandfather, who was arch-priest of Mostar. Kojo is the film debut with less than 13 years, the role of the boy in the film Ivana “Working at a certain time”. During the 1980s, played a prominent role in the film “The Igman march” (1983) TV series “Sivi dom” (1984), and one of the lead roles in three sequels (“What happens when love is born” – 1984 “Zikina dynasty” – 1985, “Second Zika dynasty” – 1986), a very popular film series “Crazy Years”, which is profiled in one of the most famous actors of the younger generation in the former Yugoslavia. In 1992, he played a major role in the film Srdjan Dragojevic “We are not angels,” by which it remains remarkable. Although it was all brought immense popularity and media attention, he continued to the increasing success and builds more seriously challenging roles in recent years, mainly in the film, because the theater withdrew indefinitely.


2017 – Mamurluci (TV Series) – producer

2016 – Stado – director

2011 – Parada – producer

1998 – Rany – producer

1996 – Piekna wies pieknie plonie – producer

Urszula Lesiak


Feature film and documentary editor

Co-director and co-author documentary

Scripte doctor ( version before shooting)

Editing doctor ( film’s final cut )

25 Boulevard de Port Royal

75013 Paris / France

tel.home +33 9 83 27 51 86

mobile +33 6 74 85 79 13

email : urs.lesiak@gmail.com


  • graduated from The University of Wroclaw (Poland) – Faculty of History of Art
  • graduated from D.E.U.G. in Paris III Sorbonne (France) – Département d’Etudes et de Recherches Cinématographiques


Chief editor in feature films and documentary (dir. by Krzysztof Kieslowski, Jörg Helbling, Andrzej Wajda, Olias Barco, Atiq RahimiGreg Zglinski) with broad international working experience for almost 60 feature and documentary films

Analyze of script before shooting

Editing doctor: last cut film ( with Severine Cornamuzas, Greg Zglinski , Kamal Musale in collaboration with CAB PRODUCTIONS, Louise Productions etc.)

Scenario co-writer for feature-documentary projects

Co-director of documentaries (with Hanna Polak, Piotr Jaxa and Manon Loizeau),

Chief editor and conception of almost 30 theatrical cinema trailers

Assistant editor in feature films (dir. by Maurice Pialat, Gerard Oury, Lars von TrierEmir Kusturica)



1985 POLICE, dir. by Maurice Pialat, feature, Gaumont, France, assistant editor

1989 VANILLE – FRAISE, dir. by Gérard Oury, feature, Ariane Films, France, assistant editor

1991 LA DOUBLE VIE DE VERONIQUE, dir. by Krzysztof Kieslowski, feature, Sideral, France/Poland, assistant editor

1991 EUROPA, dir. by Lars von Trier, feature, Gérard Mital Productions, Denmark/France, assistant editor

1993 ARIZONA DREAM, dir. by Emir Kusturica, feature, Constellation Productions, USA/France, assistant editor

1993 BLEU (BLUE)dir. by Krzysztof Kieslowski, feature, MK 2, France/Poland/Switzerland, assistant editor

1994 ROUGE (RED), dir. by Krzysztof Kieslowski, feature, MK 2, France/Poland/Switzerland, assistant editor

1994 BIALY (WHITE), dir. by Krzysztof Kieslowski, feature-, MK 2, France/Poland/Switzerland, chief editor

1995 DER NEBELLÄUFER, dir. by Jörg Helbling, Edi Hubschmid Produktion AG, Switzerland, chief editor

1997 LE NAIN ROUGE, dir. by Ivan le Moine, AAA Fillm Belges

1999 PAN TADEUSZ, dir. by Andrzej Wajda, feature – international version, Films de Lausanne, Poland/France, chief editor

2003 SNOWBOARDER, dir. by Olias Barco, feature, NORD-EST Productions, France/Switzerland, chief editor

2003 NORD-OST, dir. by M. Loiseaux and Ursula Lesiak, documentary, ARTE, France, chief editor & co- director

2004 TERRE ET CENDRE (SOIL AND ASHES), dir. by Atiq Rahimi, feature, Les Films du Lendemains, France, chief editor

2004 TOUT UN HIVER SANS FEU, dir. by Greg Zglinski, feature, CAB, Switzerland, chief editor

2006 LE SOLEIL ORANGE (THE ORANGE SUN), dir. by Piotr Jaxa, Hanna Polak and Ursula Lesiak, documentary, Green Light & HesseGreutert, Switzerland, chief editor & co-director

2007 PARTIR A TOUT PRIX, documentary. Dir. by A.Camacho, AGAT FILMS, FR 3, chief editor

2008 MARECHAL, NOUS VOILA?, documentary dir. by J. Amat, PHARES ET BALISES, FRANCE 2, chief editor

2008 CENTRAL NUIT _ SEASON 7, SERIAL TV, 6 episodes. of 52 min,dir. by Félix Olivier, FRANCE 2, chief editor

2009 LA FRANCE DES CAMPS, documentary, dir. by J. Amat, PHARES ET BALISES, FRANCE 2, chief editor

2010 NE SOUS Z, documentary, INA, FRANCE 2, CHIEF EDITOR

2011 MARIE CURIE SKLODOWSKA, documentary, ALCHIMIC PROD, France, author and CHIEF EDITOR




2015 BELMONDO PAR BELMONDO, documentary,TF1,editor and co-author


SELECTED THEATRICAL TRAILERS , conception and editing (2001-2003):

LE CERCLE (THE CIRCLE), dir. by Jafar Panahi (Iran)

LA FAUTE A VOLTAIRE (BLAME IT ON VOLTAIRE), dir. by Abdellatif Kechiche (France)


LA VIE EXTRAORDINAIRE DE DONA FLORES, dir. by A. Waddingtone (Brazil)

LIBERTAD (FREEDOM), dir. by Lisandro Alonso (Argentina)

SUSPICIOUS RIVER, dir. by Lynne Stopkewitch (Canada)`


Professor of cinema editing at THE AMERICAN UNIVERSITY OF PARIS- 2009, 2011, 2014

Member of jury 2nd year of HEAD-HAUTE ECOLE D’ART ET DESIGN GENEVE, SUISSE 2010

Professor, editing supervisor, HEAD-HAUTE ECOLE D’ART ET DESIGN GENEVE, SUISSE2011

Krzysztof Piesiewicz

Krzysztof Piesiewicz i Krzysztof Kieślowski copy

A friend of Krzysztof Kieślowski, author and co-author of screenplays of many of his films, including: the 10 films comprising “The Decalogue” series, “The Three Colors: White”, “The Three Colors: Red”, “A Short Film about Killing”, “A Short Film about Love”, “The Double Life of Veronique”.

He is a member of the Polish Film Academy, European Film Academy, and the American Film Academy. He is the laureate of many prestigious awards, including: the Gdańsk Golden Lion (1989), the European Film Award (1989), Special Jury Prize and the Ecumenical Prize at the Cannes Festival (1989), the Venice Golden Lion (1993), the Berlin Silver Bear (1994), the Cinematic Excellence special prize at the festival in Hajfa, for his contributions to the world of cinema (2002).

In 2010 he was awarded with the Ministry of Justice medal for his contribution to the the justice system of the Polish Republic.

Andrzej Sapija


Artist, film and television director. Pedagogue. Professor at Lodz Film School.

He made nearly 50 documentaries. A considerable portion of them is devoted to culture, art and outstanding artists (among others: Tadeusz Kantor, Magdalena Abakanowicz, Tadeusz Różewicz, Roman Opałka, Wojciech Fangor, Kazimierz Karabasz).

The film Opałka – Life, one work won the Grand Prix at the 30th International Festival of Films on Art in Montreal (2012).

Many films undertook historical subjects (e.g. the Jagiellonian dynasty, the Polish Underground State, the Warsaw Uprising – 60 years later, from generation to generation).

Author of 8 performances for the TVP Television Theater.


1977 – co-founder of the artistic group „Sztuka i Teoria” (Art and Theory)

Member of the PERMAFO artistic group – Wroclaw; Participation in many group exhibitions.

Participation in the São Paulo Biennial

Participated in many group exhibitions of Polish contemporary art in the country and abroad.

Individual exhibitions.

Purchases of works (drawings) available in the National Museum in Warsaw and the Museum of Contemporary Art in Łódź.

Tomasz Mielnik


Born in 1980 in Wroclaw. Studied art history at the University of Wroclaw. He then moved to Prague where he completed his film directing course at FAMU with the feature “Journey to Rome”. During his studies he made several shorts: ON SUNDAY (V nedeli, 2008), REMEMBERING MOTHER (Vzpominka na matku, 2008) and ANONYMOUS (Anonym, 2009). His short documentary CONDUCTOR (Dyrygent, 2009) came out as a supplement to a monograph on Zygmunt Molik. The film that earned him his bachelor’s degree, GIRL 180 (Holka 180, 2010), was shown at festivals around the world, including the Molodist IFF in Kiev. In 2013 Mielnik attended a workshop organized by the International Filmmaking  Academy headed by Bernardo Bertolucci, Gian Vittorio Baldi and Abbas Kiarostami.

Mikołaj Jazdon

Mikołaj Jazdon

PhD Assoc. Prof. At the Adam Mickiewicz University, film expert, working in the Department of Film, Television and New Media. Author of: Dokumenty Kieślowskiego (Poznań 2002), Polskie kino niezależne (Volume Editor, Poznań 2005) and Kino dokumentalne Kazimierza Karabasza (Poznań 2009); together with Katarzyna Mąka-Malatyńska the editor of the collective volume Zobaczyć Siebie; Polski film dokumentalny przełomu wieków (Poznań, 2011); and Pogranicza dokumentu (Poznań 2012, volume co-edited with K. Mąka-Malatyńska and Piotr Pławuszewski), special issue of “Images” (2014 no. 24): 21st-century Documentary Film In East and Central Europe (with K. Mąka-Malatyńska). Author of articles published in „Kwartalnik Filmowy”, „Images”, „Kino”, „Ekrany”, „Znak”, „Czas Kultury”, „Przegląd Humanistyczny”, „Magazyn Filmowy” and texts published abroad in English, German, Spanish, Danish, Czech and Slovak. Works as an film expert for the Polish Film Institute since 2014. Author of publications for DVD releases of Polska Szkoła Dokumentu (Krzysztof Kieślowski, Kazimierz Karabasz, Władysław Ślesicki, Czarna Seria and Gryczełowska, Halladin, Kamieńska). Co-author of scripts for 12 episodes of the Sztuka Dokumentu (2008) TV series. Artistic Director of the „Off Cinema” International Film Festival in Poznan. He leads the short film discussion club in the Culture Centre Zamek in Poznan, where he presents short films and hosts author meetings.

Lech Moliński


Lech Moliński – co-founder and vice-president of the Wrocław Film Foundation, where he is responsible for: MIASTOmovie, „Okiem Młodych” Festival in Świdnica and the SPEKTRUM Film Festival in Świdnica. In addition, it works or has worked in the field of organization of film events and film education with non-governmental organizations (e.g. Fundacja Art Transparent, Fundacja Dom Pokoju, Stowarzyszenie Kultury Teatralnej „Pieśń Kozła”, Fundacja na Rzecz Kultury i Edukacji im. Tymoteusza Karpowicza) and cultural institutions (IMPART 2016 Festival Office, Wrocław Contemporary Museum and the Audiovisual Technology Center). A member of the awarding committee for the “WARTO Award” on the behalf of “Gazeta Wyborcza”, for achivments in cinematography in the Lower Silesia region, winner of the first edition of the “30 Creative Citizens of Wrocław”, Man of the Year 2015 in the category of Culture awarded by TuWrocław.com.

Responsible for the repertoire of the “Zdrowie” Cinema in Sokołowsko.

Rafał Koschany

RK-2 (1)

Polish philology scholar, film expert, assistant professor at Department of Semiotics of the Cultural Institute, Adam Mickiewicz University in Poznan. He has authored Przypadek. Kategoria artystyczna i egzystencjalna w literaturze i filmie (Wrocław 2006) and articles published in joint publications and scientific journals (including “Kwartalnik Filmowy”, “Przegląd Kulturoznawczy”, „Poznańskie Studia Polonistyczne”), co-editor of several joint publications (including Musical. Poszerzanie pola gatunku, Poznań 2013).

Tomasz Kozłowski

Tomasz Kozłowski

Tomasz Kozłowski, graduate of doctoral studies in sociology at the Nicolaus Copernicus University in Toruń, columnist, assistant professor at Collegium Da Vinci in Poznań. Vice President of the Quantum Institute of Social Analysis. Professionally, as a Head of the Department of Education and New Media, he attempts to bridge the gap separating education and business. He co-founded new university courses, such as pro-development education and mediaworking. He is interested in the socio-anthropology of pop culture, transformations, the social role of the media, as well as the social conditioning of happiness. Unfulfilled novelist, fulfilled essayist. Critical fan of postmodernity. Together with Tomasz Szlendak he introduced Poland to an evolutionary reflection on the forms and content of entertainment (“Naked Monkey in front of the TV” 2008) (“Naga małpa przed telewizorem” 2008). Three years later he published “Samotny hulaka”, a book that is a radical criticism of pop culture. Editor-in-chief of “{Slow}”. He also publishes in “Odra” and “Charaktery”. He writes columns for, among others “Madame” and “Dyrektor szkoły”. Author of the blog “Popkiszka.”

Łukasz Maciejewski

Ł.Maciejewski3_foto_Marcin Oliva Soto

Film and theatre critic, a graduate of film studies at the Institute of Audiovisual Arts of the Jagiellonian University. Lecturer at the Faculty of Acting of Lodz Film School (PWSFTviT) (Rector’s award for outstanding pedagogical achievements), and the Faculty of Humanities and Social Sciences of the University of Social Psychology. Member of the European Film Academy “EFA”, the International Federation of Film Critics’ “FIPRESCI”, the International Association of Theatre Critics AICT.

Program Director of the Kino na Granicy festival in Cieszyn, film curator of the Małopolski Ogród Sztuki (MOS) in Krakow. Associate at several magazines, including “Dziennik Gazety Prawnej”, “Teatr”, “Notatnik Teatralny”. Film expert at HBO Europe and the Polish Film Institute (PISF), a regular guest of “Tygodnik Kulturalny” on TVP Kultura.

From 2010 he is a member of the „Paszporty Polityki” jury in the film category, and since 2015 the Stefan Traugutt award of the Polish section of the International Theatre Critics AICT for creators of TV Theatre. Juror at dozens of film festivals, including in Montreal, Karlovy Vary, Podgorica, Agadir, Skopje and Cottbus. Winner of many journalism awards, including statuettes of “Uskrzydlony” and the “Golden Rose” for “a new quality of film criticism” and “Dziennikarska Wena”. Co-author of dozens of books; author interview volume “Przygoda Myśli” (“The Adventure of Thought”) (2009),  “Wszystko jest lekko dziwne” (“Everything is a little strange”) interview with Jerzy Radziwilowicz (2012), and best-sellers: “Flirtując z życiem” (“Flirting with Life”) – an interview with Danuta Stenka (2013), “Aktorki. Spotkania” (“Actress. Encounters”) (2012) “Aktorki. Portrety” (“Actress. Portraits”) (2015).

Ajka Tarasow


Irena (Ajka) Tarasov, a member of the SFP, over the course of her career she performed the duties of costume designer, set designer, production collaborator and co-director.

She has worked with directors: Barbara Sass-Zdort, Krystyna Janda,  Andrzej Wajda, Andrzej i Janusz Kondratiuk, Janusz Zaorski, Witold Leszczyński, Wojciech Marczewski and Krzysztof Rogulski among others.

Since 1990, she is engaged in the propagation of film education among the youth. To this end she collaborated with the Andrzej Wajda Master School to create the Film Kindergarten, and has been a long time collaborator of the Warsaw Film School. She is the author of the concept of the „Film Signposts”.

Since 2004, she serves as president of the European Foundation for Audiovisual Education DISCE.

For the last 5 years a member of the „Hommage a Kieślowski” program board.


Festival PR:

Edyta Bach



PRESS RELEASE 7 SFF Hommage a Kieslowski



The Krzysztof Kieślowski Archives 

Contemporary Art Foundation IN SITU mission statement 


Organizer                                   Funded by

Sokolowsko InSitu plansza              mkidn_01_cmyk    PisfPol_beztla   mieroszow_logo_rgb    FINA_logo_kolor   03 Logobase short trans black

Honorary patronage

       WWałb      mieroszow_logo_rgb    Czeskie centrum


        LOGO JPG IIC-colore-cracovia



KGHM          SEGEPO REFA     Copy of Isuzu logo Red on White



Legalna Kultura   Untitled-1  katedra1   federacja  logo_podst(1)

off logo (1)  20629292_10214141305350038_819544023_o      OC_logo.cdr   logo-disce rgb copy   logo wok      

Logo pl forum logo


Media patronage

logo SZARE bezTV  Kino_new_eps    Film & kamera  kwartalnik_logo1 Magazyn filmowy Stowarzyszenie filmowców polskich logo_Odry  perspektywy logo       polska paper_v1     gazeta_wroclawska [Przekonwertowany]