# Poland on Screen at Ritzy in October/November



## Gramsci (Oct 12, 2011)

I put this on Books/Film section also thought I would put it up here as some of the films are at Ritzy. It starts this Friday (14th October) with "33 Scenes from Life" (33 sceny z zycia). A recent film that my Polish friends say is good.

Poland has long history of film making and new and old films will be shown.I do know a bit about Polish cinema and its worth catching some of these films as they are rarely shown here.

http://polandonscreen.pl/

Picture House cinemas with Krakow Film Foundation have organised a festival of 49 new and old Polish films.

The Great Digest of Polish Cinema​ 

*49 films in seven impressive thematic cycles*
*classics and newcomers*
*masters and rising stars*
*winners of the world’s most important film awards*
The unique presentation of Polish films both old and brand new is a real treat for moviegoers and casual viewers. Far from being a boring lesson of the cinematic history about the country of Lech Wałęsa and Pope John Paul II, *Poland On Screen* is an attempt to show the diversity of Polish cinema made by such an eminent artists as Polański, Has, Wajda, Zanussi and Kieślowski.​Polish cinema is much more than just those big names; it is also easily recognisable for two cinema professions which are said to be Poles’ “speciality”: directors of photography (Kamiński, Idziak, Sobociński, Edelman) and composers (Penderecki, Komeda, Preisner, Kaczmarek). Films bearing their signature will also be found in this collection. Not forgetting to mention actors whose fame has reached far beyond the Polish borders (Cybulski, Olbrychski, Linda, Stuhr)…​The Festival of Polish cinema, which is organised on the occasion of the Polish Presidency in the European Union is also an attempt to show how the screen becomes a reflection of reality, a Balzacian mirror, regardless of the constraints of communist or moral censorship.​*What is that Poland* on the screen like? How was it described by the censorship‑constrained artists of the Communist era? And how is it seen by the younger generation of post-liberation filmmakers? The answers on those and many more questions are waiting to be discovered at the cinemas​


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