Known for Acting
After killing her husband, the beautiful but cunning Lulu evades justice with the help of the people that are in love with her. A Polish teleplay of Frank Wederkind's play that adapts the second part of the story.
A town near Warsaw. A group of teenagers rules one of the courtyards: Ali, Pawik, and Małgośka, the object of both boys' fascination. A few years later, these same young people form a typical youth gang. Ali and Pawik gather around them a group of peers who have been unable to find their place in society and want to live an easy life. Robberies and thefts are their idea of a comfortable existence. A few more years pass and the gang transforms into a mafia. After the 1989 elections, it enters into deals with politicians. It also gets into a conflict with Russian gangsters.
Two writers comment on the situation of Poland in the period of political transformation.
Early 90's. The political and economic landscape of Poland, Russia and Germany is changing. Both good and bad sides of freedom are revealed. The mafia is becoming more and more bold, operating without obstacles across borders. One of the more lucrative "businesses" is the trade in luxury cars, stolen in Germany and transferred to Russia by Russia.
One night, a teacher is murdered. A police investigation soon leads to the deceased's true nature and two unlikely suspects.
The TV-obsessed burgomaster of a Polish town and his equally addicted wife are literally sucked into their set, vanishing from the living room. Their three bewildered children must band together to pull Mom and Dad back out of the television before they’re lost forever.
A parable for the end of totalitarianism. Three protagonists - a high official, a secretary, and a border guard - representative of three generations (1948, 1968, 1988) are forced to confront their ideals and places in society through the events of one strange night.
1982, Budapest. Two 18-year-old Hungarian boys think Hungary is boring so they decide to travel to Poland and have a real adventure. Their plan to escape to Sweden fails and they find themselves in a Polish prison.
Originally made for Polish television, “The Decalogue” focuses on the residents of a housing complex in late-Communist Poland, whose lives become subtly intertwined as they face emotional dilemmas that are at once deeply personal and universally human. Its ten hour-long films, drawing from the Ten Commandments for thematic inspiration and an overarching structure, grapple deftly with complex moral and existential questions concerning life, death, love, hate, truth, and the passage of time.
One of the passengers on a ship carrying Poles on a cruise in December 1981 is a dissident high school teacher sent abroad by Solidarity. He is under surveillance of the secret police, anxious to get their hands on the info that he is carrying. When the ship is in the middle of the Baltic sea, martial law is declared and the ship is militarized. The captain announces he will turn and return the home port. Many anguished passengers put the life vests on and jump into the sea, where they are picked up by two German ships. The teacher, however, decides to return to Poland and continue the struggle for freedom.
A father and daughter, Michał and Anka, have a unique intimacy, which the college-aged Anka is beginning to feel conflicted about. When she finds an unopened letter from her deceased mother, it seems to justify her attraction to Michał, who may not in fact be her father.
Jacek, an angry drifter, murders a taxi driver, brutally and without motive. His case is assigned to Piotr, an idealistic young lawyer who is morally opposed to the death penalty, and their interactions take on an emotional honesty that throws into stark relief for Piotr the injustice of killing of any kind.
