During and after the 34th Polish Film Festival, which was held on September 14-19, 2009 in Gdynia, an astonishing thing occurred. In day-to-day reports, journalists were confused by the large amount of quality movies to discuss. People from the surrounding urban area, Trójmiasto, wanted to see Polish movies. Interest and demand were rising daily. It was almost impossible for the average viewer to buy tickets for the open screenings. Critics celebrated the fact that now they have something to discuss besides what is wrong with the Polish film industry. Some of them even announced the rebirth of “the Polish school.” Members of the jury had problems not with which one of the movies to choose for the Award (in the past it had happened that none were worth awarding), but because there were so many good movies to be honored. Polish people got excited and very eager to see (or see again) Snow White and Russian Red (Wojna polsko-ruska), The Reverse (Rewers) or Dark House (Dom z³y). In my presentation I would like to concentrate on the period that followed the last flourishing of Polish cinema, which occurred in the 1970s. I would like not only to raise the question of why such a vivid, creative and prolific national cinema suffered such a long crisis, but also try to name some probable answers.
For additional information contact Shiela Charles: SCharles@polishstudiesuw.org