Marta is a romantic and a loser in school. She shares a room with her sister Kasia and grandma, who tells her granddaughters insurgency stories instead of fairy tales. In the room behind the wall, the parents - Tadek and Elżbieta - live their married life. He is an intelligent constantly humiliated by the state, he also makes his own moonshine after work and silently envies his prosperous brother in law. She is the leader of the "Solidarity" union at work, with the need for freedom and a dream to get out of Poland. The real adventure for the family starts when they manage to get their dream orange Fiat 126p. Ela and Tadek discover their appetite for trading and trips abroad, and the growing Marta will fall in love for the first time.
An organised arts teacher has only one main problem in life, which is his father – a painter always going from one party to the next. When the father lives through his second heart attack and still refuses to change his lifestyle, Julius will have to find a way to influence his behaviour.
37-year-old Marta gets married and wants to have a baby. But her toxic relationship with overbearing mother complicates her life in many ways.
Poland's winning battle against Soviet Russia as seen through the eyes of two young protagonists, Ola and Jan. She is a Warsaw cabaret dancer, while he is a cavalry officer and poet who believes in socialist ideals
The story, which was written by Henryk Sienkiewicz in the 19th century "for the strengthening of hearts," filmed in 1999 with extraordinary panache, has become one of the most spectacular Polish films. Its plot is set during the Khmelnytsky uprising in Ukraine. Against the background of historical and political turmoil, noble friendships and great love are born between the characters.
The story of catholic saint Maximilian Kolbe (1894-1941), who volunteered to die in place of a stranger in the Nazi concentration camp of Auschwitz.
The screening of a movie "Daybreak" at the "Liberty" Cinema is interrupted by an unusual event - actors come to life on the screen, start conversations among themselves, draw the audience into them. Crowds gather around the cinema, the relevant authorities and services wonder what to do in this complicated situation. Also arriving is the censor, a man reaching his fifties, a one-time literary critic and journalist. The line between fiction and reality begins to blur.
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